Verdi’s «Otello». The Experience of «Active Analysis»
The article discusses the possibility of using scientific and practical methods of theater studies in complete analysis of Opera. According to the author, the study of the Opera text from the standpoint of musicology alone cannot reveal the full depth and ambiguity of its content. The existing tradition of studying Opera as a score in musicology and Opera as a performance in theater studies and journalism prevents a complete perception of the genre. Since the specificity of Opera lies in the presentation of information with the help of music, the priority in the analysis of Opera texts quite logically belongs to musicology. In the process of studying Opera musicology traditionally uses the methods of hermeneutics, semiotics, comparative studies of musical and other. But the musical science leaves out the area of attention methods that seem to be the most close to the Opera genre (because of its theatrical nature), namely scientific and practical methods of theater studies. The author uses K. S. Stanislavsky’s «method of active analysis», defining «action» as one of the possible ways of organizing the material, both in the musical score and in its stage version. The article emphasizes that «action» is a»generic» feature of the theater as a whole and cannot be ignored in the study of Opera. On the example of Verdi’s «Otello» with the help of «active analysis» the author shows new possibilities of connections between musical and stage dramaturgy.
operatic text, opera, method of active analysis, event, G. Verdi, “Otello”.