Score and Musical Performance: Dynamics of Interaction on the European Opera Stage of the 20-Early 21 Centuries
Authors: Куклинская М.Я. 
Published: February 2021

Статья посвящена проблеме взаимодействия оперной партитуры и спектакля в музыкальном театре XX-XXI веков. Автор использует методы компаративистики и семиотики, акцентируя внимание на понятии «оперный текст». В статье исследуется типы взаимоотношений нотного и сценического текстов, которые автор условно определяет как постмодернистский и постдраматический. Анализируя фрагменты оперных партитур, автор приходит к выводу, что интонационный материал составляет лишь часть оперного текста и не всегда обусловливает содержание спектакля. Это становится особенно явным в постмодернистский период. Современная сценическая практика, равно как и достижения музыкальной и театральной науки позволяют рассматривать партитуру как семиотический знак, в котором обозначаемое и обозначающее регулируется режиссером, актером и зрителем. При этом режиссерская деятельность, актерское искусство и активное зрительское восприятие в процессе раскодирования партитуры делает все эти компоненты составной частью оперного текста. В статье автор анализирует ряд спектаклей, доказывая справедливость данного утверждения.

The article is devoted to the problem of interaction of Opera score and performance in musical theater of 20-21 centuries. The author uses the methods of comparative and semiotics, focusing on the concept of “opera text”. The paper is concerned with two main types of interaction between musical and stage texts, which the author conditionally defines as postmodern and postdramatic. Analyzing fragments of opera scores, the author comes to the concLusion that intonation materiaL is onLy part of the opera text and does not aLways determine the content of the performance. This becomes especiaLLy evident in the postmodern period. Modern stage practice, as weLL as the achievements of musicaL and theatricaL science, aLLows us to consider the score as a semiotic sign, in which the signified and denoting is reguLated by the director, actor and audience. At the same time, directing, acting and active audience perception in the process of decoding the score makes aLL these components an integral part of the opera text. In the articLe, the author anaLyzes a number of performances, proving the vaLidity of this statement.

The article is devoted to the problem of interaction of Opera score and performance in musical theater of 20th—21st centuries. The author uses the methods of comparative and semiotics, focusing on the concept of “opera text”. The paper is concerned with two main types of interaction between musical and stage texts, which the author conditionally defines as postmodern and postdramatic. Analyzing fragments of opera scores, the author comes to the conclusion that intonation material is only part of the opera text and does not always determine the content of the performance. This becomes especially evident in the postmodern period. Modern stage practice, as well as the achievements of musical and theatrical science, allows us to consider the score as a semiotic sign, in which the signified and denoting is regulated by the director, actor and audience. At the same time, directing, acting and active audience perception in the process of decoding the score makes all these components an integral part of the opera text. In the article, the author analyzes a number of performances, proving the validity of this statement.