CHOIR PERFORMANCE “I-WE”: ANALYSIS OF MUSICAL STAGE IMPLEMENTATION BY THE CHORAL THEATRE “ACADEMY”
UDC index:
7
DOI: 10.31773/2078-1768-2019-47-133-140.
Article ID in the RSCI:
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Information about authors: Krylov Ivan Aleksandrovich, Sr Instructor, Department of Theatre Arts, Kemerovo State University of Culture, Member of the Union of Theatrical Workers of Russia (Kemerovo, Russian Federation). E-mail: kryloff_ivan@mail.ru Pomortseva Nina Vladimirovna, PhD in Art History, Department Chair of Musicology and Applied Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: musiclogist@ mail.ru Shorokhova Inna Vyacheslavovna, Associate Professor, Dean of the Faculty of Music Arts, Acting Department Chair of Conducting and Singing, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: shorokhovainna@mail.ru
Annotation: Contemporary performing arts fight with authoritarian and totalitarian narrative in any form. Increasingly, the theatrical concept of contemporary directors is built on the denial of straight plots and deconstruction of the meanings of words, movements and actions. Slacking the primary positions of methodological bases of producing and acting skill in the practical aspect of creating the theatrical performance extends and transforms the theatrical language of the stage action. In contemporary domestic performing arts, everything clearly lies in the field of philosophy and aesthetics of postmodernism and post dramatic structure of theatrical action. Directors actively experiment with approbation of the postmodern forms and techniques in this art form. Expanding the boundaries of art, a producer outside the drama processes the embodiment of “Energy Theatre” by J.-F Liotar. Hans-Tis Lehman interprets the concept of Liotar’s “Energy Theatre” as the theatre “forces, intensities, affects their real presence.” It is the idea of “energy” in the modern theater; theatre culture powerfully implements the scrapped usual hierarchical externally internal links. Implementation of the “State Theatre,” “theatre and theatre of sensations” becomes the center of aesthetics and the philosophy of the performing arts in the 21st century. In art arsenal of expressive means, producing and acting art embedded performance and actionist ways of saying to escape the boundaries between life and art, to empower an exit abroad of previous art forms. This article attempts to analyze the specifics of the musical stage incarnation of choral performance of “I-We” represented by the Choral Theatre “Academy” to audience, in the context of a connection, mixing, synthesis of diverse arsenal dramatic and post dramatic techniques for translating the “energy theatre.” The study proved the feasibility of such an approach in the incarnation of a dramaturgic concept in multilevel and multidimensional format of the modern musical theatre.
Keywords: dramatic and post dramatic techniques, dramaturgical concept, music art, musical stage incarnation, the rehearsal process, choral theatre, energy theatre.
DOI: 10.31773/2078-1768-2019-47-133-140.
Article ID in the RSCI:
Article file: Download
Information about authors: Krylov Ivan Aleksandrovich, Sr Instructor, Department of Theatre Arts, Kemerovo State University of Culture, Member of the Union of Theatrical Workers of Russia (Kemerovo, Russian Federation). E-mail: kryloff_ivan@mail.ru Pomortseva Nina Vladimirovna, PhD in Art History, Department Chair of Musicology and Applied Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: musiclogist@ mail.ru Shorokhova Inna Vyacheslavovna, Associate Professor, Dean of the Faculty of Music Arts, Acting Department Chair of Conducting and Singing, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: shorokhovainna@mail.ru
Annotation: Contemporary performing arts fight with authoritarian and totalitarian narrative in any form. Increasingly, the theatrical concept of contemporary directors is built on the denial of straight plots and deconstruction of the meanings of words, movements and actions. Slacking the primary positions of methodological bases of producing and acting skill in the practical aspect of creating the theatrical performance extends and transforms the theatrical language of the stage action. In contemporary domestic performing arts, everything clearly lies in the field of philosophy and aesthetics of postmodernism and post dramatic structure of theatrical action. Directors actively experiment with approbation of the postmodern forms and techniques in this art form. Expanding the boundaries of art, a producer outside the drama processes the embodiment of “Energy Theatre” by J.-F Liotar. Hans-Tis Lehman interprets the concept of Liotar’s “Energy Theatre” as the theatre “forces, intensities, affects their real presence.” It is the idea of “energy” in the modern theater; theatre culture powerfully implements the scrapped usual hierarchical externally internal links. Implementation of the “State Theatre,” “theatre and theatre of sensations” becomes the center of aesthetics and the philosophy of the performing arts in the 21st century. In art arsenal of expressive means, producing and acting art embedded performance and actionist ways of saying to escape the boundaries between life and art, to empower an exit abroad of previous art forms. This article attempts to analyze the specifics of the musical stage incarnation of choral performance of “I-We” represented by the Choral Theatre “Academy” to audience, in the context of a connection, mixing, synthesis of diverse arsenal dramatic and post dramatic techniques for translating the “energy theatre.” The study proved the feasibility of such an approach in the incarnation of a dramaturgic concept in multilevel and multidimensional format of the modern musical theatre.
Keywords: dramatic and post dramatic techniques, dramaturgical concept, music art, musical stage incarnation, the rehearsal process, choral theatre, energy theatre.
