Philosophical and Symbolic Aspects of Dramaturgy in Wagner`s Mythological Theatre
This article proposes a new view on the theory of synthesis of arts in the mythological theater of R. Wagner, it is indicated that the German master proposed two concepts – the concept of the theater of mass spectacles, the ideas of which are presented in the work “Work of art of the future” and implemented in the Opera “Meistersingers”, and the concept of symphonized mystery in the Opera “Parsifal”. Eight layers of contamination, which became a global principle of synthesis of mythological, historical, social, aesthetic, philosophical ideas and laws of musical creativity in the subjects of his author’s myth, are revealed. The processes of contamination, philosophical concepts in the operas “Tannhäuser”, “Lohengrin”, “The Ring of the Nibelung”, “Tristan and Isolde”, synthetizing the concepts of St. Augustine and St. Boethius, Kierkegaard, Feuerbach, Schopenhauer, highlighted the synthesis of theaters of the XIX century. The interaction of the nine intonational spheres of the romantic era with continuum symphonization (in leitmotifs and innovative operatic forms) is characterized. Three layers of drama in the theater of Wagner are considered: levels of external and internal (psychological) action and philosophical-symbolic level. The latter concentrates the artistic concepts of each work. It is shown how the rules of Wagner`s mythological theater move into the work of the twentieth century composers.
synthesis, myth, contamination, intonation layers, symbolism, continuum symphonization.