ISSN 2411-0795
Keywords: modern Russian opera, opera-remake, literary remake, music history and theory, G. Korchmar, V. Kobekin, I. Yusupova, S. Levkovskaya, typology, plot, stage, creativity, stage action
Zadneprovskaya G.V. National Russian Opera-Remake in the Context of Modern Culture. // Theory and History of Art. 2023. N 1/2, p.315–359

The article presents the main trends in the development of modern Russian opera remake, a concept and term introduced into musicological practice by the author of this study. The definition of an opera remake has been clarified. The author considers the philosophical concept of «possible worlds» to be the basic reason for the emergence of this type of opera.
Literary and film criticism works devoted to the remake are analyzed. Their study made it possible to extrapolate some positions of the theory of a literary remake into the field of musical stage genres, in particular, into opera. The conditions for the extensive development of the opera remake at the beginning of the 21st century are revealed. The analysis of the works of G. Korchmar («NIGENO YIENEGVE»), V. Kobekin («Hamlet»), I. Yusupova («Don Juan's List of Don Juan»), S. Levkovskaya («Carmen-perezagruzka») belonging to this genre is presented.
The typology of opera remakes of the named composers is given. The narrative, genre and plot transformations underlying the typology of the works under consideration are described. As a result of the analysis of modern Russian opera remakes of the early XX century. the author comes to the conclusion that they represent all types: pseudo-remake (remake-reinterpretation) and postmodern remake (remake-deconstruction and destructive remake).