Theatrical in Orthodox church parish
The article is devoted to various manifestations of theatricality in the Orthodox parish – both in the process of liturgical actions, including church singing, and in the educational activities of parishioners. The author emphasizes the rejection and negative evaluation of theatricality in the process of liturgical reading and singing, which is called “kozloglasovaniye” (“goat voice”) in church practice. Double word tracing contributed to the consolidation of a cacophonous term, which carries an appraisal. The statements of well-known spiritual leaders that condemn any manifestation of theatricality during the service are analyzed. The examples are given to illustrate the stylistic parallelism of liturgical hymns and secular music, including theatrical one, as well as the technique for open sound representation in hymns written with the use of canonical texts by composers of various epochs writing for the church. The facts of functioning of vertep theaters in orthodox parishes of the Krasnodar Territory are ascertained today. In the process of analyzing the above, the author comes to the conclusion about the inevitability of interaction and the borrowing of artistic techniques of secular and cult arts.
orthodox parish, church singing, vertep theater, liturgical arts.