FEATURES OF THE REPERTOIRE OF KHABAROVSK REGIONAL MUSICAL THEATER OF THE 1930S: TO THE PROBLEM OF THE FORMATION OF THE MUSICAL-DRAMATIC PROCESS IN THE FAR EAST
UDC index:
782.8
DOI: 10.31773/2078-1768-2019-48-150-157.
Article ID in the RSCI: https://elibrary.ru/item.asp?id=39198400
Article file: Download
Information about authors: Syrvacheva Svetlana Sergeevna, Sr Instructor of Department of Art History, Musical Instrumental and Vocal Art, Khabarovsk State Institute of Culture (Khabarovsk, Russian Federation). E-mail: fotin_s@mail.ru
Annotation: The article is devoted to the study of the repertoire of the Khabarovsk Regional Musical Theater of the 1930s. The choice of the genre direction of development of the theater carried out in this period is proved. The characteristic is given to the functioning the genre of musical comedy on the Khabarovsk scene in connection with the manifestation of general (all-union) tendencies and regional features. Based on the analysis of media, the repertoire shown by the regional theater to the Khabarovsk audience has been established. A list of foreign and Soviet authors of musical comedies is given, a list of names of Soviet operettas presented on the Khabarovsk theater stage is given, and reviews of some significant performances are analyzed. It is revealed that stable success accompanied to staging the operetta “Kholopka” by N. Strelnikov. As a regional feature of the period of the 1930s, the formation of conditions for the emergence of compositional creativity in musical and scenic genres and the appearance of the first opuses of far Eastern authors in the genre of operetta are considered. This was made possible thanks to the unique situation associated with the arrival in the Far Eastern region to work in the musical theater of highly qualified personnel from the central regions of Russia. The first place among them belongs to D. Pekarsky. It is noted of particular interest, that dictated by the political and ideological installation, well-known composers of the USSR M. Blanter, I. Dzerzhinsky, L. Knipper, N. Makarova were engaged into the far Eastern theme, the embodiment of the stories associated with the service of the border troops and the socialist construction in the Far East of Russia. The performances of domestic and one foreign “Far Eastern” operettas, including the operetta created by musicians and writers living in the Far Eastern region.
Keywords: musical theater, operetta, musical comedy, regional culture, province, the Far East.
DOI: 10.31773/2078-1768-2019-48-150-157.
Article ID in the RSCI: https://elibrary.ru/item.asp?id=39198400
Article file: Download
Information about authors: Syrvacheva Svetlana Sergeevna, Sr Instructor of Department of Art History, Musical Instrumental and Vocal Art, Khabarovsk State Institute of Culture (Khabarovsk, Russian Federation). E-mail: fotin_s@mail.ru
Annotation: The article is devoted to the study of the repertoire of the Khabarovsk Regional Musical Theater of the 1930s. The choice of the genre direction of development of the theater carried out in this period is proved. The characteristic is given to the functioning the genre of musical comedy on the Khabarovsk scene in connection with the manifestation of general (all-union) tendencies and regional features. Based on the analysis of media, the repertoire shown by the regional theater to the Khabarovsk audience has been established. A list of foreign and Soviet authors of musical comedies is given, a list of names of Soviet operettas presented on the Khabarovsk theater stage is given, and reviews of some significant performances are analyzed. It is revealed that stable success accompanied to staging the operetta “Kholopka” by N. Strelnikov. As a regional feature of the period of the 1930s, the formation of conditions for the emergence of compositional creativity in musical and scenic genres and the appearance of the first opuses of far Eastern authors in the genre of operetta are considered. This was made possible thanks to the unique situation associated with the arrival in the Far Eastern region to work in the musical theater of highly qualified personnel from the central regions of Russia. The first place among them belongs to D. Pekarsky. It is noted of particular interest, that dictated by the political and ideological installation, well-known composers of the USSR M. Blanter, I. Dzerzhinsky, L. Knipper, N. Makarova were engaged into the far Eastern theme, the embodiment of the stories associated with the service of the border troops and the socialist construction in the Far East of Russia. The performances of domestic and one foreign “Far Eastern” operettas, including the operetta created by musicians and writers living in the Far Eastern region.
Keywords: musical theater, operetta, musical comedy, regional culture, province, the Far East.
