FEATURES OF POSTMODERNISM IN THE CHINESE LIBRETTO OF THE CHAMBER OPERA “FAREWELL TO CAMBRIDGE”
UDC index:
782.6
DOI: 10.31773/2078-1768-2019-48-157-164.
Article ID in the RSCI: https://elibrary.ru/item.asp?id=39198401
Article file: Download
Information about authors: Zhu Linji, Postgraduate of Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (Saint-Petersburg, Russian Federation). E-mail: 534366380@qq.com
Annotation: In the 21st century, more and more Chinese composers began to turn to postmodern techniques and techniques in creating the opera works, actively and fruitfully exploring this style that came from the West. One of the results of this creative search was the postmodern opera “Farewell to Cambridge.” This work has attracted a lot of attention since its inception, and after the first show, the production was demonstrated in the largest opera houses 25 times; moreover, each major Chinese conservatory included “Farewell to Cambridge” in the repertoire of the compulsory educational program. Thus, this opera became not only the most avantgarde work in the musical world, but also a rare example of the “standardized” educational material adopted by the academic musical community. A fresh, simple and elegant musical style, understandable to everyone libretto, emphasize the narrativity and lyricism of the work to the maximum, but the fact that the author had used the techniques of postmodernism makes it even more unique. In this paper, the author uses the opera “Farewell to Cambridge” as a subject of study, while the purpose of the study is to set out the essential meaning of postmodern literary and cinematographic techniques in the structure of the plot and libretto of the opera. Through a detailed analysis of the libretto of “Farewell to Cambridge,” the author considers in details its decentralized structure, the collage of the poetic language, as well as the peculiarities of positioning the characters in this opera work.
Keywords: Chinese chamber Opera, opera “Farewell to Cambridge,” libretto, postmodernism.
DOI: 10.31773/2078-1768-2019-48-157-164.
Article ID in the RSCI: https://elibrary.ru/item.asp?id=39198401
Article file: Download
Information about authors: Zhu Linji, Postgraduate of Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (Saint-Petersburg, Russian Federation). E-mail: 534366380@qq.com
Annotation: In the 21st century, more and more Chinese composers began to turn to postmodern techniques and techniques in creating the opera works, actively and fruitfully exploring this style that came from the West. One of the results of this creative search was the postmodern opera “Farewell to Cambridge.” This work has attracted a lot of attention since its inception, and after the first show, the production was demonstrated in the largest opera houses 25 times; moreover, each major Chinese conservatory included “Farewell to Cambridge” in the repertoire of the compulsory educational program. Thus, this opera became not only the most avantgarde work in the musical world, but also a rare example of the “standardized” educational material adopted by the academic musical community. A fresh, simple and elegant musical style, understandable to everyone libretto, emphasize the narrativity and lyricism of the work to the maximum, but the fact that the author had used the techniques of postmodernism makes it even more unique. In this paper, the author uses the opera “Farewell to Cambridge” as a subject of study, while the purpose of the study is to set out the essential meaning of postmodern literary and cinematographic techniques in the structure of the plot and libretto of the opera. Through a detailed analysis of the libretto of “Farewell to Cambridge,” the author considers in details its decentralized structure, the collage of the poetic language, as well as the peculiarities of positioning the characters in this opera work.
Keywords: Chinese chamber Opera, opera “Farewell to Cambridge,” libretto, postmodernism.
