Musical Performance as the Subject of Musicology
The article deals with the important problem of interaction between music and theatre lines in opera music. Considering musical performance as an integral part of the opera text, the author reflects on the need to create a generic method that allows to study the performance from the position of musicology. The article examines the possible ‘points of intersection’ between music and theatre. Defining ‘action’ as a phenomenon operating simultaneously in musical and theatrical art, the author proposes to use the method of ‘active analysis’, created in the last century by S. Stanislavsky, while studying opera scores. The purpose of this article is to test this method in musical science. For example Verdi’s “Aida” identifies some features of the drama, due to the interaction of music, literary and theatre lines. The author comes to the conclusion about the great possibilities of the active analysis method in the practice of studying musical and stage texts. This method allows us to study the connections between the musical and theatrical aspects of opera genre, using the concept of ‘activ’ as the basis of opera dramaturgy. The application of the active analysis method makes it possible to explore the ways of organizing and developing musical and stage conflict more deeply and accurately in the composer’s plan and the musical performance.
opera, dramaturgy, active analysis method, Verdi, “Aida”.