Dramaturgy, musical |

The system will express means and methods of drama implementation. actions in production musical stage genre (opera, ballet, operetta). At the heart of music D. lie the general laws of drama as one of the types of art-va: the presence of a clearly expressed center. a conflict that reveals itself in the struggle between the forces of action and reaction, a certain sequence of stages in the disclosure of dramas. concept (exposition, plot, development, climax, denouement), etc. These general patterns are specific. refraction in each type of musical drama. lawsuits will express them according to nature. funds. Opera, according to A. N. Serov, is “a stage performance in which the action taking place on the stage is expressed by music, that is, by the singing of the characters (each separately, or together, or in chorus) and by the forces of the orchestra in the infinitely diverse application of these forces , starting with simple voice support and ending with the most complex symphonic combinations. In the ballet, of the three elements indicated by Serov – drama, singing and orchestra – there are two, while the role, similar to singing in opera, belongs to dance and pantomime. At the same time, in both cases, music is Ch. generalizing means, carrier of cross-cutting action, it not only comments on otd. situations, but also links all the elements of the drama together, reveals the hidden springs of the behavior of the action. persons, their complex internal relationship, often directly expresses ch. the idea of ​​production The leading role of music in opera and other types of musical drama. art-va defines a number of features of their composition, different from the construction of lit. drama. Music specifics. D. is taken into account already in the construction of the script and further in the development of the libretto. In cases where the basis for creating a libretto is a finished literary drama. composition, as a rule, a number of changes are made to it, affecting not only the text itself, but also the general plan of the dramas. development (examples of writing operas on the full, unaltered text of the literary drama are few). One of the most common differences between the opera libretto and the lit. drama consists in greater conciseness, conciseness. An even more conditional and generalized character is characteristic of the ballet scenario, since the language of gestures and plastics does not have the degree of differentiation and semantic certainty that are inherent in verbal speech. In this regard, as G. A. Laroche notes, “the opera libretto occupies the middle between the verbal drama and the ballet program.” There are mixed forms of music. D., combining elements of opera and verbal drama. These include operetta, drama. performances with music, common among the peoples of owls. and foreign East, singspiel and other scenic. genres, in which music. episodes interspersed with conversational scenes. They can be attributed to the field of muses. D. in the event that the most important key moments of the action are expressed in music. This is the difference between these genres and the usual drama of the performance, in which music remains in the position of one of the staged accessories and is used only occasionally, for illustrative purposes or to give stage performance. greater variety and brilliance.

During the historical development, certain forms of music have developed. D .: in the opera – recitative, aria, arioso, decomp. types of ensembles, choirs; in ballet – dances are classical and characteristic, effective episodes (pas d’axion), choreographic. ensembles (pas de deux, pas de trois, etc.). They don’t stay the same. So, if in Italian. opera series 18th century dramaturgy. functions and structure decomp. wok. forms were strictly predetermined and regulated, then in the future there is a tendency to more flexible use of them. The sharp line between recitative and rounded woks is destroyed. episodes; the latter become more diverse in their structure and express. character, all sorts of mixed forms arise. Large segments of the action (from the stage to the whole act) are covered by a continuous through music. development. Opera D. is enriched by certain methods of symphony. development developed in the field of instr. music. One of the means of symphonization of the opera genre is the consolidation for the department. actors defined. themes or intonation. complexes consistently developing throughout the action (see Leitmotif). The transformation of the opera into a complete musical drama. the whole is facilitated by the use of the principle of reprise (see Reprise), the unity of the tonal plan, the transfer of all kinds of “arches” between more or less distant moments of the stage. actions. Mn. of these techniques are also used in ballet, where from the 2nd floor. 19th century music takes on an increasingly active dramaturgically leading role, being saturated with elements of symphony. In its extreme manifestations, the desire to symphonize opera and ballet sometimes leads to a complete rejection of rounded episodes. This position has received the most following. expression in creativity and theoretical. the views of R. Wagner, who completely rejected the traditional. type of opera, opposing it to muses. drama based on the “endless melody”. A. S. Dargomyzhsky sought to reform the opera, based on the continuous following of wok. recitations for all intonations. shades of verbal text. Dr. composers combined through music. development with temporary stops, allowing you to highlight a situation, emotional experience or character trait of an action in close-up. faces.

In production musical stage genres there are signs of such purely muses. principles of constructive organization of the material, such as variation, rondo-likeness, sonatism. Ho usually they appear here more freely and more flexibly than in instr. music, obeying the requirements of the dramas. logic. In this sense, P. I. Tchaikovsky spoke about the fundamental difference between opera and symphony. styles. “While composing an opera,” he remarked, “the author must constantly keep the scene in mind, i.e. remember that in the theater not only melodies and harmonies are required, but also action … “. This main music law. D. allows a wide variety of specific creativity. decisions related to decomp. wok ratio. and orc. began, end-to-end development and otd. completed episodes, recitative and broadly sung wok. melody, solo singing, ensembles and choirs, etc. Music types. D. depend not only on general arts. trends of the era, but also on the nature of the plot, the genre of production. (large historical-heroic, epic, fairy tale, lyric-drama, comic opera or ballet), from the individual warehouse of creativity of a particular composer.

The concept of music. D. also applies to products. instr. music, not related co stage. action or a certain lit. program. It is customary to talk about symphony. D., D. sonata form, etc. The ability inherent in music to reflect images of reality in movement, development, interweaving and struggle of contradictory principles allows an analogy with dramas. action. Ho, resorting to such an analogy, one should keep in mind its relativity. Specific patterns, to-Crym is subject to the development of muses. images in instr. music, only partially coincide with the laws of the stage. drama.

References: Druskin M., Questions of the musical dramaturgy of the opera, L., 1952; Yarustovsky B., Dramaturgy of Russian opera classics, M., 1952; his own, Essays on the dramaturgy of the opera of the 1971th century, M., 1961; Ferman B., Fundamentals of operatic dramaturgy, in the book: Opera House. Moscow, XNUMX.

Yu. B. Earth