M. Planida, T. Rudichenko

Vodevil in Russia: adaptation and genre transformations

The relevance of the topic is determined by the presence of contradiction between the peripheral position of vaudeville in Russian culture and the steady attention of creators and the public to it. Natural research interest caused by its ability to adapt to changing sociocultural conditions, to transform and interact relevant arts of the digital age. Russian vaudeville is being studied with the aim of establishing adaptation mechanisms and identifying factors that determine the uniqueness of transformation processes at each stage of its existence, up to the present day, as well as the characteristics of the model of genre dynamics. Based on the results of the study, conclusions are drawn: on the adaptive properties of vaudeville determined by the inherent and retained mobility of relations of the components of the arts in a synthetic whole, the constants of which are such components of dramaturgy as the plotand musical andpoetic form of the verse; on the interaction with other related theatrical and musical genres, which allows you to update the language of art and thesphere of images and emotions, complicate the interweaving of dramatic lines and create additional possibilities for constructing a conflict. Intergeneric interactions with the arts of the 20th – 21st centuries that arose as a result of technological progress (screen arts) allowed vaudeville to fit into the current trends of the entertainment culture of our days. The cyclic model of genre dynamics is characterized by wave oscillations with a periodic inversion return to canonical properties and vaudeville repertoire classics.

Key words

russian vaudeville, genre transformations, intergenre and intergeneric interactions, synthesis of arts, model of dynamics.

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