Lyudmila S. Bakshi

The article is devoted to the problem of the methodology of analysis of new musical stage forms at the turn of the 20th–21st centuries. During this period, such types of theater as immersive, participatory, walker, imagination theater, theater without an actor, theater of Sound, sound drama, theater of changing hierarchies and a number of others were born. Various mixed performances have become the norm, in which drama is combined with circus, dance, opera, instrumental theater, jazz, and video art. Often the relationship with the viewer changes. The fourth wall is destroyed, and the viewer becomes an accomplice of the performance. There are other principles of dramaturgy here. They are fundamentally different from those known in the director's interpretive theater of the twentieth century. Determining the directions of searches is at the center of the proposed work.

The analysis of these diverse phenomena is complicated by the fact that such a familiar factor as a play, a narrative, that is, a linear presentation, disappears. Dramaturgy often arises on the basis of a generally significant myth. Classical works, historical events, characters of history, heroes of popular works become myths, which gives directors and performers freedom of interpretation. Therefore, prequels and sequels based on famous works have spread in artistic practice and not only in the theater, but also in literature, cinema, computer games. This topic requires a separate study. At the present stage, the specifics of classical opera and ballet productions have been studied to a greater extent. Musical performances on the dramatic stage are an unexplored area. But they establish their own laws of organization of the whole, a dialogue of different arts arises. The traditional hierarchical vertical is replaced by a polyphonic horizontal. The principle of correspondence of all expressive means of the theater to the word is being replaced by the contrapuntal way of organizing the artistic resources used in this particular performance. As an example, let's highlight such areas as the Theater of Sound, the Theater of Imagination, Sound drama, the theater of changing hierarchies. The dramaturgy of counterpoint of heterogeneous means of expression is another problem that needs to be studied. A new polyphonic thinking is emerging before our very eyes. Established other relations with the public. Vivid images, not connected by a narrative, provoke the audience to complete their connection, awaken the fantasy. Changes in artistic thinking, understanding of the role of the composer and director at a new stage in the development of theatrical art were clearly manifested in their statements, which are given in this article.

Problems identified in the study: the rejection of the narrative, the turn to a generally significant myth (mythologems) as the basis of stage interpretation; the change of the principle of correspondence of all expressive means to the word by the counterpoint of the arts; the emergence of new non-genre formations and areas of creativity record a change in artistic thinking. And this is a global topic, It requires a comprehensive study and consolidation of the efforts of researchers from various fields of art.

This article outlines the development of metaphorical theater, where new artistic thinking, language, dramaturgy and fundamentally new models of stage art are being created. In literature, metaphor is understood as a word or expression used in a figurative meaning, which is based on the comparison of an object or phenomenon with some other on the basis of their common characteristic. Theatrical metaphor is a multimodal image that arises at the intersection of languages of different types of art to express the essence of meaning or create the generalization behind a specific story. At the same time, metaphor needs no explanation. Independent comparison (interaction) of the incomparable provokes the viewer to complete connections. Famous finales from "The Government Inspector" staged by Vsevolod Meyerhold, "A Month in the Village" by Anatoly Efros, and "Macbeth" by Eimuntas Nekrošius are one of the most remarkable works in in history of theatre and are commonly referred to as stage meta-backgrounds.

The director's theater, which appeared at the turn of the 19th and 20th centuries and developed as an art of interpretation, sought to turn the theater into a temple of Art, drawing set designers, costume designers, composers, lighting designers, and choreographers into the orbit of co-creation. By the end of the 20th century, the most famous literary works began to be interpreted as a myth that could be retold in one's own words or even acted out on stage without words.

The author reveals the something particular and individual from the general and brings it out. The myth "sees" the universal behind the individual. Author's art belongs to a specific time, "speaks" about a specific person. Myth is about the eternal and universally significant. Performances of this direction are most often hybrid, cross-genre forms based on the interaction of different means of theatrical expression — drama, music, spectacle, circus, pantomime, ritual. Among them there are "The Street of Crocodiles" by Gerard McBurney, "Black on White", "Hashirigaki" by Heiner Goebbels, "Genesis" by Romeo Castellucci. In this country, the first examples of this kind of metaphorical theater are "Siddur-Mystery" and "Polyphony of the World" by composer Alexander Bakshi in collaboration with directors Valery Fokin and Kama Ginkas. In these performances, the initiatory role of the word is missing and the principles of drama are changing.

In contrast to the interpretative theater, the theater of the word appears, where literary storytelling dominates, and all other components are of little significance or are completely absent.