A. Chepinoga

Producer’s analysis of the opera score: «proposed circumstances» and the principles of their reconstruction

The author of the article characterizes the most important peculiarities of the analytical understanding, conformably to the opera score, as a component of producer’s creative work. The researcher underlines that generally used method of effectual analysis functions in essence differently under the conditions of opera or dramatic performance. So long as emotions and feelings of personages (and not stage events) are imprinted in a music text, the author advises to differentiate properly the suitable concepts. A failure to coincide of terminological «sense fields» peculiar to emotions and feelings is noted in the article. Hence the researcher explains that feelings reproduced by composer in the opera score assist in comprehension of a general idea, and conflict, and through dramaturgy features while emotions permit to reconstruct the «proposed circumstances» of stage action. The author to take account of the opera score specificity makes the necessary corrections into understanding of the «proposed circumstances ». Owing to this, some prospects for adequate using of the effectual analysis method at the dramatic and opera theatre are outlined. In context of dramatic performance, the conveyed emotions are reconstructed by means of play circumstances (an effect is drawn from a cause) whereas the opposed relationship is typical for opera: a producer re-creates hypothetical circumstances with the aid of the given emotions that probably were excited by mentioned circumstances (a cause is determined with the help of an effect).

Key words

producer’s analysis of the opera score, method of effectual analysis, opera performance, «proposed circumstances» of stage action, emotions and feelings of personages.

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