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I. Grayfer

Riteness in the Operatic Direction of L. Mikhailov: Towards the Sources of His Creative Method

The article is devoted to some aspect of director’s heritage by L. Mikhailov (1928–1980). This aspect is connected with formation of the «modern» staging concept of the operatic performance. L. Mikhailov thought, that the sources of such conception can be correlated with an individual transubstantiation of national (to begin with folklore) ritual traditions. Hence the major features of the «modern» opera staging examined in the article are resulted from. The «sacredness» of staging is conditioned by unreserved predominance of the author’s idea. The latter (to be realized by the director) runs through elements of stage action in the whole. The mentioned elements form «the innermost unity» become free from any superficial significances and senses. The audience of a play is drawn to process of intensive comprehension conformably to representing conception; it furthers the emerging of lively emotional experiences. The aggravation of these experiences is appropriately made by complementary interaction between music and stage lines that presupposes a tight coordination of the director and leading performers taking part in a play (conductor, master of choir, solo vocalists). Besides, it seems to be necessary the varied interpretation of author’s idea in the details of artistic decorative design and purposeful «structuration» of the stage space. The marked aspirations intuitively realized by L. Mikhailov in his operatic productions of 1950s were the fundamental urge to large-scale conversion of the «ritual» tendencies that was typical for the mature creative work of the prominent master.

Key words

director’s heritage of L. Mikhailov, operatic direction, staging concept, «ritual» tendencies, «sacredness».