«The idea» («the most important task») as the instrument of the opera score producer’s analysis
As is generally known, the universally recognized purpose of the opera score producer’s analysis serves an impersonation of the innermost «idea» – according to K. Stanislavsky, «a life of the human spirit». For all that widely famed definitions of «the idea» («the most important task») proposed by the classics of the Russian producing art have a propensity for terminological vagueness which obscures the essence of concept and impedes its making in the contemporary practice. On the grounds of the aesthetic-philosophical excursus into the history of the foregoing concepts to be undertaken by the researcher, the conclusion on «a life of the human spirit» as «a life of the human ideas» is drawn. The organizing function of «the idea» to be divorced on principle from «ideologizing activity» is characterized in the article. As the researcher notes the category of «morality» is the main instrument of the mentioned «ideologizing activity». That is why producer’s «moralization» based upon the straightforward subject analysis gives rise to ideologically engaged «items of propaganda». On the contrary, a skill of comprehending and original interpreting conformably to the author’s idea permits the contemporary stage-manager to create the true work of art. There is emphasized in the article that author’s idea contains structure-forming potentiality. Owing to this latter a text of art finds the appropriate integrity and regulating. The named potentiality is correlated with causal-effectual logic of the subject, and factological «organics» of libretto just as artistic features of the opera score are determined by this correlation.
producer’s analysis of the opera score, work of art, author’s idea, stage interpretation, causal-effectual logic of the subject.