Opera as a Creolized Musical Text
The article is devoted to the consideration of opera as a special type of narrative music-verbalvisual text in its broad semiotic sense, in which verbal and non-verbal sign elements are concluded in syncretic unity. All elements of operatic narrative text in the broad semiotic meaning of the word are indicative of the development of the narrative plot within the narrative script (narrative script), which is subject to a certain plot development scheme – the plot (localization of stage action in time and space), intrigue – the situation of overcoming life conflicts that have arisen and the end - overcoming the situation. The syncretism of operatic text as an integral, interdeterminated system of meaningful stage action, which has an emotional impact on the audience and performers with the help of all three channels of communication - visual, auditory and verbal, makes it possible to define opera as a special form of creolized text with emotiveness. The personal and collective emotions generated by an opera performance are decisive in a syncretic operatic text. Used in modern philology, the term creolized text that characterizes text that contains verbal and visual elements, we believe, can be extended to opera text. The opera text also contains verbal and non-verbal elements (libretto and visual elements – make-up, character costumes, scenery, acting, and non-verbal audial elements – opera performance music, opera parts. This creolized text implements two interrelated interpretations – the director and performers (singers and orchestra), giving the operatic text a binary basis. In doing so, one must take into account the influence on interpreters of mediating prescriber mediators in the face of music critics. consistently opera text can be seen in the paradigm of musicological analysis as polycode verbal and auditory-visual unity, organized in a multi-level-oriented communicative creolized text.
opera, opera text, libretto, creolized text, semantics, polymodality, emotiveness.