O. Shapoval

The Stage Text of ‘The Flying Dutchman’ by R. Wagner in the Directed Opera Theatre

The original ideas of staging «The Flying Dutchman» by R. Wagner are analyzed in the article through the prism of meaningful intentions, which served as a source of director’s interpretations of the author’s text. The opera text is comprehended in two planes – accordingly, both author’s and stage. The considered interpretive interpretations of «The Flying Dutchman» by R. Wagner demonstrate the communion in the semiotic projection, representing the implicit sides of the author’s design of the German composer. Each of the directing versions of «The Flying Dutchman», implemented, implements the idea of an «opera of salvation» (in accordance with the concept of E. Roshchenko) conceived by R. Wagner in the metaphysical plane. In the scenic interpretations, the semantic interchange of the text of the work with the overtones of the dramatization takes place through the reflection by the producers of the implicit facets of R. Wagner’s author’s design. In a number of the productions considered, the inner life of Senta (G. Kupfer, K. Gut, M. Kurochka) is in the focus of attention. The musical-scenic image receives variant interpretations in the presence of archetypal features. The mythological principles regarding the treatment of the image of the Dutchman are vividly realized in the interpretational versions of G. Kupfer and K. Mieelitz. The performance versions on the whole confirm the fundamental principles of the author’s concept of the «opera of salvation» conceived by R. Wagner in the mystery plane in the unity of the physical and metaphysical destiny of the heroes of the work.

Key words

stage text, Liebestod, directed theatre, director’s concept, interpretation.

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