| Popis: |
The article considers the interpretive aspect of the opera "Eugene Onegin" in the realities of "director's theater". The preconditions for the formation of new stage versions of the opera were clarified within the existing opera and theater tradition. The multi-vector directorial concepts of the opera, characterized by different levels of stylistic unity and conformity to the original source, are revealed. The stage principles of K. Stanislavsky's concept are considered, that determined the future conceptual approaches of directing the psychorealistic tradition in the interpretation of "lyrical scenes". The main genre and style tendencies of modern directorial concepts of the opera "Eugene Onegin" are outlined. Two directions of modern stylistic searches are clarified: eclectic, which is characterized by violation of stylistic and semantic integrity of opera, layering of autonomous stage text of incompatible semantic system; value-organic, characterized by the creation of an artistic model, where the external and internal forms are focused in the new hypertext of culture. A. Zholdak's new directorial production as an example of organic unity of verbal, musical and stage components of opera is analyzed. The inexhaustibility of the preverbal semantic layer of the operatic text as a holistic mytho-poetic structure and poetic allegory is determined. This factor organically corrects with the poetics of metaphorical theater. The semantic-stylistic paradigms and value-semantic orientations of the modern reading of the opera "Eugene Onegin" are clarified. The correlations between the creation of a new hypertext of culture and ethical and aesthetic enrichment of the value system, such as semantic and semantic affinity of aesthetic concepts of participants in cultural dialogue and adherence to the principles of artistic truth in understanding the semantic constants of "Eugene Onegin". The validity of the creation of a new stage score as a dialogized correlating value system with a high level of ethical and aesthetic generalization is proved. The virtual incompleteness of the process of reading the operatic text "Eugene Onegin" and the predicted plurality of stage forms as an immanent quality of an outstanding artistic phenomenon of deep lyrical and poetic content are determined. |
