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Journal articles on the topic 'All-level dramaturgy'

Author: Grafiati

Published: 30 May 2022

Last updated: 31 July 2025

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1

Kemarskaya, Irina N. "TV Dramaturgy: Format Approach." Journal of Flm Arts and Film Studies 7, no. 4 (2015): 130–42. http://dx.doi.org/10.17816/vgik74130-142.

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The article analyses the issues of television format and its dramatic foundation. Unlike film, a television spectacle is, above all, reproducible: in its core lays a replicated plot structure, which is filled with new content in each new episode of the series. The need for establishing of a steady communication with TV audience demands special rules, instruments and plot devices, enclosed in a professional term television format. Consistent modelling of predetermined reactions of the audience is in the core of the formats dramatic structure. The format is seen outside the specific subject-matt

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2

Grămoșteanu, Corina. "Psychological Mechanisms in Chekhov." CONCEPT 29, no. 2 (2025): 196–211. https://doi.org/10.37130/2kg29m63.

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This paper aims to analyse the psychological mechanisms present in the dramaturgy of Anton Pavlovich Chekhov, alongside the psychic transformations undergone by the theatre creator during the process of interpreting and staging these classic texts. Considering the symbolic value of Chekhov’s characters at a social and cultural level, all of which were developed under the auspices of the great cultural and historical shifts of the beginning of the 20th century, the present analysis investigates a series of stage expression methods that the contemporary theatre has exhibited over the past decade

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IVANOVA, Krasimira. "NATIONAL IDEOLOGY THROUGH THE PRISM OF DRAMATURGY." Ezikov Svyat volume 22 issue 2, ezs.swu.v22i2 (May 30, 2024): 98–100. http://dx.doi.org/10.37708/ezs.swu.bg.v22i2.11.

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The article is part of a larger study on the imaginary mechanisms embedded in dramaturgy with the aim of emphasizing the need at the meta-theoretical level to control all the correlates of the concept “ethnicity“ through the natural bivalent construction of the real world: „Our-Other/Foreign“, through the main ethnos-constructing factors – religion, language, and nationality. The necessity arises from the established over decades distortion of the adequacy of the imaginary attitudes in question, which the national ideology takes advantage of. The purpose of the overall study is to demonstrate

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Kaznokh, Iryna. "Cyclical Composition's Dramaturgical Principles of the Easter Canon (on the Irmologion Material of the 70s – 80s of the XVII Century)." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 3, no. 1 (2020): 18–26. https://doi.org/10.31866/2616-7581.3.1.2020.204335.

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Over the centuries, church liturgical practice has formulated perfect musical forms, the structure of which is built on internal genres, united by the common idea of all parts. The classification of their musical dramaturgy is determined by the musical-philological component that builds the liturgical and artistic integrity of the cyclic form of the work. This form is represented by the Easter canon, which holds a special place among all works of Byzantine hymnography. The purpose of the research is to consider the compositional structure of the Easter canon genre in the context of its th

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Frieler, Klaus, Martin Pfleiderer, Jakob Abeßer, and Wolf-Georg Zaddach. ""Telling a Story." On the Dramaturgy of Monophonic Jazz Solos." Empirical Musicology Review 11, no. 1 (2016): 68. http://dx.doi.org/10.18061/emr.v11i1.4959.

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The metaphor of storytelling is widespread among jazz performers and jazz researchers. However, little is known about the precise meaning of this metaphor on an analytical level. The present paper attempts to shed light on the connected semantic field of the metaphor and relate it to its musical basis by investigating time courses of selected musical elements and features in monophonic jazz improvisations. Three explorative studies are carried out using transcriptions of 299 monophonic jazz solos from the Weimar Jazz Database. The first study inspects overall trends using fits of quadratic pol

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TĂBĂCARU, Roxandra. "Drama-Music Communication in Opera Performance." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 313–20. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.34.

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The study “Drama-Music Communication in Opera Performance” builds on my 35-year experience of lyric drama in opera production. In my career as a director, which spanned from Baroque opera to contemporary opera, I was intrigued by the multiple connections between the musical dramaturgy, vocal expressiveness, stage image and impact on the audience. Consequently, I realised that all these elements which rely on musical scores are connected by something similar to the principle of communicating vessels: with genuine and intense musical-dramatic communication, the artistic emotion may reach the sam

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Kharenko, Alina. "Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 155–69. http://dx.doi.org/10.34064/khnum1-55.11.

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Background. Jazz is one of the most significant phenomena of the entire twentieth century, which in a very short period of time has won the attention of listeners around the world. Finally, many explores are interested in the study of jazz art as a significant element of the world’s musical heritage. There are a lot of works written by national and foreign musicologists who study jazz music from different viewpoints. A great variety of studies in jazz art include works devoted to the technical aspect, on the one hand: the study of scale harmony, rhythm, instrumentation, and on the other hand –

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Goryachikh, Vladimir V. "Numerical Symbolism in the Musical Dramaturgy of The Queen of Spades by Pyotr Tchaikovsky." Contemporary Musicology 9, no. 2 (2025): 106–33. https://doi.org/10.56620/2587-9731-2025-2-106-133.

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Hermann’s obsession with the three, seven and ace of cards, which “never left his head and moved on his lips,” “haunting him in his sleep, taking on all possible forms,” is one of the most striking and memorable artistic discoveries in Pushkin’s story. Perhaps it was this idea, successfully picked up by Modest Ilyich Tchaikovsky and developed in the original version of the libretto, that so inspired his brother, the composer Pyotr Ilyich Tchaikovsky, with the plot of The Queen of Spades. The individual observations accumulated over the past years on the reflection of number symbolism in the li

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King, Thomas A., and Timothy J. Fogarty. "The dramaturgy of earnings guidance: an institutional analysis of a soft landing." Accounting, Auditing & Accountability Journal 35, no. 4 (2021): 1093–120. http://dx.doi.org/10.1108/aaaj-06-2017-2983.

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PurposeMuch in accounting research depends upon equity valuation. Too often, what the stock of publicly traded companies trade at is taken at its face value. Knowing that valuation is a function of performance relative to consensus security analyst expectations, more needs to be known about how these expectations are created and changed. The paper aims to assert that the guidance provided by top-level company management is important to the work product of analysts. The paper develops information from managers involved in these interactions.Design/methodology/approachSemi-structured interviews

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Prylipko, Iryna. "The ‘One’s own — Alien’ conflict in Lesia Ukrainka’s dramaturgy: ethnic-national and worldview aspects." Слово і Час, no. 1 (February 2, 2021): 22–38. http://dx.doi.org/10.33608/0236-1477.2021.01.22-38.

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The paper focuses on the specific features of the ‘One’s own — Alien’ conflict in the dramatic works by Lesia Ukrainka. The majority of her dramas and dramatic poems were written on the basis of foreign cultural phenomena, including the Ancient Greek, Biblical, and other topoi and images. Foreign cultural realities are aimed at the actualization of both the entire context of Ukraine and the writer’s autobiographic discourse in a recipient’s consciousness, forming the imagological paradigms ‘One’s own — Alien,’ ‘Me — Another’. Upon involving the imagological theories, the author of the paper tr

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Souza, Roberto Acízelo de, and José Luís Jobim. "BRAZILIAN LITERARY CRITICISM AND HISTORIOGRAPHY." Revista Brasileira de Literatura Comparada 22, no. 41 (2020): 37–45. http://dx.doi.org/10.1590/2596-304x20202241rac.

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Abstract: In Brazil literary studies, after scant manifestations in the colonial period, represented by the activity of literary academies founded in the 18th century only really expanded in the course of the 19th century. National literary production grew in quantity and quality, as did literary studies, which, on the one hand, were demanded by this production- that, after all, needed to be studied and evaluated -, but, on other hand, stimulated this creativity, as they established as a criterion of value the alignment of fiction, poetry and dramaturgy with the nationalist agenda. As a result

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12

Houston, Andrew. "Views and Reviews." Canadian Theatre Review 135 (June 2008): 113–14. http://dx.doi.org/10.3138/ctr.135.025.

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A good deal of dramaturgy is focused on content. A discussion of whether or not a production is successful will often revolve around the quality of the play: whether the premise, themes or characters are credible; or perhaps whether the story was worth the effort of production. If the focus shifts to the production, there may be conversation about the casting, acting, directing, or design. On rare occasions, serious consideration may be given to the program for the production or perhaps to how the show was promoted to the public. All of these are very good points of discussion about any perfor

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Frolova, A. S. "Reception of Ancient Plot of Odyssey in Stefan Schütz’s Play “Odysseus' Heimkehr”." Nauchnyi dialog 14, no. 2 (2025): 306–21. https://doi.org/10.24224/2227-1295-2025-14-2-306-321.

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This article analyzes the distinctive features of the transformation of the plot concerning Odysseus’s return to Ithaca in Stefan Schütz’s play “Odysseus’ Heimkehr” (1972). The relevance of this study is underscored by the strategies of representation of modernity presented in the play, which are intricately linked to the reception of ancient heritage. Employing a cultural-historical method, along with receptive and mythopoetic approaches to textual analysis, the study concludes that all mythological characters in the play undergo a process of re-evaluation: the figures of Telemachus and Penel

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Timakova, A. A. "Shakespearean Theatre in Criticism and Journalism of Petr Boborykin." Nauchnyi dialog 13, no. 4 (2024): 285–305. http://dx.doi.org/10.24224/2227-1295-2024-13-4-285-305.

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The aim of the study is to analyze the functions and forms of Boborykin’s references to Shakespeare’s dramatic heritage and determine the extent of Shakespearean theatre’s influence on the formation of the writer’s creative system. The material consists of feuilletons and articles by P. D. Boborykin for the journals “Library for Reading” (1861, 1862), “Case” (1871), “Word” (1878), publications in the newspapers “New Time” (1876), “Theatrical World” (1887), as well as the book “Theatrical Art” (1872) and the memoirs “For Half a Century” (1929, 1965). It is shown that in his feuilleton publicism

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15

Popova, Kseniia. "Interrelation of Literature and Choreography in the Works of John Neumeier." Философия и культура, no. 7 (July 2023): 73–85. http://dx.doi.org/10.7256/2454-0757.2023.7.39283.

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The subject of the study is one of the main lines in the work of choreographer John Neumeier - the interpretation of literary works on the ballet stage. This article discusses his productions based on literature such as "The Lady with Camellias" (1978), "Peer Gynt" (1989/2015), "The Seagull" (2002), "Death in Venice" (2003), "Anna Karenina" (2017), "The Glass Menagerie" (2019). Neumeier's ballets reveal a special relationship between literature and choreography. The performances created by him are not just a fact of illustrating the plot of the original source, but an attempt to penetrate into

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Oliinyk, Ivanna. "Batyar Songs in Viktor Morozov’s Creativity." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 119–30. http://dx.doi.org/10.31318/2522-4190.2021.130.231211.

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Relevance of the study. The batyar subculture has already become the subject of many scientific works of Polish and Ukrainian researchers as a social phenomenon with its own jargon and cultural traditions. In particular, this issue has become central in the works of U. Jakubowska, A. Kozytsky, O. Kharchyshyn, Y. Vynnychuk, N. Kosmolinska, W. Szolginia and others. Batyar songs as a layer of Lviv city music got a new life thanks to the creativity of V. Morozov, realized in the publication of three albums with neobatyar songs. This group of songs and its genre and intonation parameters have not y

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17

Дунников, В. В. "Поэтика странного в пьесе Нины Садур «Ехай»: на стыке абсурдного и постмодернистского". Tyumen State University Herald Humanities Research Humanitates 11, № 1(41) (2025): 87–100. https://doi.org/10.21684/2411-197x-2025-11-1-87-100.

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Драматургия Садур, частично совпадающая с постмодернистским стандартом, но частично расходящаяся, вызывает целый ряд исследовательских проблем. Прежде всего, это проблема стиля: за простым, подчеркнуто незатейливым языком ее пьес скрывается представление об абсурдности человеческого существования, экзистенциальные размышления о свободе личности, постмодернистская интертекстуальность. Другая проблема — проблема места в драматической традиции: драматургия Садур занимает пограничное положение между классикой ХIX в. и постмодернизмом второй половины ХХ — ХХI в. Современное литературоведение соотно

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18

Postovoitova, Svitlana. "Features of Vsevold Zaderatsky’s Polyphonic Thinking in the Cycle “24 Preludes and Fugues”." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 85–100. http://dx.doi.org/10.31318/2522-4190.2022.134.269617.

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Relevance of research. The work of Vsevolod Zaderatsky appears as a unique phenomenon, unusual in all its aspects, starting from the historical context (conditions of creation, years of oblivion, revival, publication and performance) and ending with the smallest details hidden in the inner logic of the musical work. The specifics of the thematic organization of fugues and the innovative interpretation of other elements of the fugue require special attention. The need to fully incorporate the first great polyphonic cycle in the music of the 20th century into artistic and performing practice act

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19

Zieziula, Grzegorz. "Beyond the Dogma of a ‘National Style’: Dance-Type Narration in Stanislaw Moniuszko’s Operas." Musicology Today 15, no. 1 (2018): 41–61. http://dx.doi.org/10.2478/muso-2018-0006.

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Abstract A privileged position in discourse on 19th-century opera is occupied by narration concerning the emancipation of national styles. In order to work out a fresh approach in scientific study of this subject, it seems crucial that we should abandon the ethnocentric perspective. This was one of the main postulates of Jean-Marie Pradier’s utopian project of ethnoscenology. Importantly, Pradier also stressed the physical aspect of all stage practice. In the times of Rossini, Verdi, Gounod and Moniuszko, the physicality of the spectacle was associated not only with singing, but also with chor

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Dotsenko, Elena G. "Melodramatic Tradition vs Colorblind Casting for Branden Jacobs-Jenkins’ Plays." Literature of the Americas, no. 16 (2024): 190–208. http://dx.doi.org/10.22455/2541-7894-2024-16-190-208.

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The article concerns with the plays An Octoroon and Gloria by contemporary American playwright Branden Jacobs-Jenkins. The dramaturgy of one of the most notable authors, writing for the US theatre at the present time, is thematically varied; besides, it includes both Jacobs-Jenkins’ original works (e.g., Gloria, 2015) and his adaptations of plays by other authors and/or other epochs. Among the adaptations there is the most famous of Jacobs-Jenkins' plays so far — An Octoroon (2014), which is the author's treatment of 19th century melodrama The Octoroon (1859) by Anglo-Irish dramatist Dion Bouc

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Kolotaev, Vladimir A. "THE HERO’S WAY, IDENTITY AND STAGES OF THE LIFE CYCLE IN CINEMA." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 75–87. http://dx.doi.org/10.17223/22220836/43/5.

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The relevance of the research is determined by the high social significance of the problems of identity formation in modern society, reflected in cinema, and the insufficient knowledge of the processes of constructing various identity models in the art space of cinema and the connection of the psychological stages of development of this identity with elements of the structure of film narration. A comparison of the structural elements of the hero’s travel map (compositional nodes of the script) with the epigenetic diagram of the stages of identity formation and a description of the formal-subst

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Tillotson, Stephanie. "The Migrant Shakespeare project: The actor as ‘other’." Book 2.0 12, no. 2 (2022): 133–53. http://dx.doi.org/10.1386/btwo_00069_1.

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In March 2021, during a time of loss and longing, the theatre company, Seyyar Kumpanya, under the artistic directorship of Naz Yeni, created a digital project called ‘Migrant Shakespeare’. Seyyar Kumpanya is a collective of Turkish-speaking actors who now, for various reasons, all live and work in and around London. Their project evolved into a sequential performance of ten monologues taken from different Shakespeare plays, each spoken by ten different actors who have English as a second, sometimes third, language. The directorial decision was made to transpose Shakespeare’s characters to the

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23

Kopeliuk, Oleg. "Phenomenology of style as musicological discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 7–21. http://dx.doi.org/10.34064/khnum1-55.01.

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Background. Among the studies of the last five years we note scientific researches which reveal different phenomenological concepts in musicological discourse and reveal the final maximum of the phenomenological study of music essence. R. Kurenkova’s research is one of them, which explores the content of the phenomenological approach to the analysis of musical art works, and traces the analysis of the history and theory of the phenomenological method. In V. Sokolov’s work the attention is focused on the categories of musical thinking, which for the first time becomes the subject of methodologi

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Varavkina-Tarasova, Nadiіa. "Sacred architecture of J. S. Bach’s Sarabanda in B minor from Partita No. 1 for solo violin (in memory of Teacher, Professor Arsenii Mykolaiovych Kotliarevskyi)." Aspects of Historical Musicology 35, no. 35 (2024): 160–80. http://dx.doi.org/10.34064/khnum2-35.09.

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Statement of the problem. Objectives, methods, and novelty of the research. The study is devoted to the analysis of the unfolding of the composition Sarabanda in B minor from J. S. Bach’s Partita No. 1 for solo violin. Against the background of fairly broad musicological orientations to the performing interpretation of the composer’s music (the analysis of J. S. Bach’s scores for solo violin usually concerns of performance issues), a rarely used method is applied related to the concept of “Sophiness” by S. Krymskyi and aimed at finding parallels between musical architecture and symbolism of sa

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Pesochinsky, Nikolai V. "“Back to Ostrovsky”: Deconstruction of Staging Classics in a Directorial Theatre of the 1920s." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 10–26. http://dx.doi.org/10.35852/2588-0144-2023-1-10-26.

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Ostrovsky’s centenary in 1923 gave impetus for a major leap in the history of directing. Ostrovsky turned out to be the first author whose plays were staged almost simultaneously (within 3 years) in all styles of Russian directing. Alexander Tairov staged “The Storm” at the Moscow Kamerny Theatre, in 1924, by mythologizing Ostrovsky’s tragedy. The myth of the Russian soul outside the boundaries of time turned out to be in the center of his performance. The psychological portrayal of the 19th-century drama’s character was mastered by the mythological approach. Such components as mythological th

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Kamenieva, Anna. "Stylistic features of the choral concerto “Witchery songs” by M. Shukh." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 122–35. http://dx.doi.org/10.34064/khnum1-55.09.

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Background. The current paper provides an intonation and dramaturgical analysis of the choral concerto “Witchery Songs” by a contemporary Ukrainian composer M. Shukh (1952–2018). It reveals stylistic features of the late composition, presents an argument for its affiliation to the meditative sphere enriched with new stylistics, which can be seen in the semantics of contemplation, philosophical and psychological focus (the first movement), the concept of “Light” (the second miniature) as well as composure and blissful sleep (final). Objectives. To reveal stylistic features of the choral concert

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27

Stashevskyi, A. "Features of the Graphic Notation of the Components of the Cluster Technique in Modern Button Accordion Music (on the Example of the Creativity of Ukrainian Composers)." Culture of Ukraine, no. 88 (March 20, 2025): 104–11. https://doi.org/10.31516/2410-5325.088.11.

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The relevance of the research topic. The intensive development of contemporary button accordion composer creativity, which falls on the last quarter of the XX — and the beginning of the XXI centuries, is characterized by significant stylistic and genre colourful, enrichment and expansion of the whole system of musical expressive means, attracting the latest composer techniques, artistic techniques. In the palette of contemporary composer tools, which are selected today by the creators of button accordion music for the implementation of the most relevant ideas and concepts in their works in the

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Kalenichenko, Olha. "The interaction of the arts of theater, cinema and music in the postmodernist interpretations of the coryphaeus’ works directed by O. Kovshun." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, no. 66 (2023): 158–75. http://dx.doi.org/10.34064/khnum1-66.10.

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Statement of the problem. In recent decades, Ukrainian directors have turned to the dramaturgical heritage of coryphaeus – to the works of I. Karpenko-Kary, M. Starytsky, M. Kropyvnytsky. On the stages of theaters represents a very wide palette of interpretations of their works: from realistic and psychological performances with authentic Ukrainian clothes and elements of everyday life to experiments with acting plasticity and searching for new scenography opportunities, but Oleksandr Kovshun demonstrated a fundamentally new approach to the classical texts in his spectacles “Burlaka” (2010), b

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Kozyriatskyi, Mykhailo. "COMPOSITIONAL-DRAMATIC FEATURES OF THE SONATA FOR OBOE AND PIANO BY F. POULENC." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 37–52. http://dx.doi.org/10.34064/khnum1-58.03.

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Backround. Chamber instrumental music by F. Poulenс is a bright, original and important part of the composer’s creative heritage. The sonata genre, represented by ten works for different instruments, occupies a special place in it. F. Poulenc’s appealed to it throughout his career, so studying samples of this genre belonging to different periods helps to trace the evolution of F. Poulenc’s compositional style. However, despite the widespread popularity of performers, chamber and instrumental works by F. Poulenс are not sufficiently covered in music studies. The purpose of the article is to rev

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Savchenko, Ganna. "Orchestral composition multifigure as a principle of time and space organization of Ihor F. Stravinsky’s orchestral works (from early ballets to Symphony in C and Symphony in three movements)." Aspects of Historical Musicology 16, no. 16 (2019): 242–58. http://dx.doi.org/10.34064/khnum2-16.14.

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Introduction. The early and the top works of the Russian period showed rapid evolution of Ihor F. Stravinsky’s musical thinking and style: there evolved the original musical language, the technique of composition, with the orchestral composition principles being changed. The ballets demonstrated a new sense of time and space, which is shaped by the complex of expressiveness means, with orchestrating being essential. The composer’s style evolution took place within a complex historical and cultural context, marked by a change in the cultural paradigm in the early twentieth century. The scientif

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गैरे, गोपालप्रसाद. "नाटककार विजय मल्लको रङ्गमञ्च शिल्प {Dramatist Bijay Malla's art of theater}". NUTA Journal 10, № 1-2 (2023): 137–51. http://dx.doi.org/10.3126/nutaj.v10i1-2.63055.

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प्रस्तुत लेख विजय मल्लका नाटकको रङ्गमञ्चशिल्पको अभ्ययनमा केन्द्रित छ । रङ्गमञ्चशिल्पको वैशिष्ट्य निरूपण नाटकको रङ्गमञ्चीय प्रस्तुतिका रूप र अवस्थाको प्रत्यक्ष अवलोकनबाट हुन्छ तापनि रङ्गमञ्चीय प्रस्तुतिका समस्त रूप र अवस्थाको मूलाधार नाट्यमर्म हो । नाट्यमर्मलाई नै श्रव्यदृश्य परिणति प्रदान गर्ने उद्देश्यले नै आधारशिलाका रूपमा नाट्यपात्रका कार्यव्यापार सम्पत्र भएको स्थान, समय र परिस्थितिको प्रतिनिध्यात्मक वा प्रतीकात्मक ढङ्गमा रङ्गमञ्च तयार गरिन्छ । नाट्यकृतिलाई रङ्गमञ्चीय प्रस्तुतिमा लैजाँदा रङ्गकर्मीहरूले नाट्यालेखको अध्ययनबाट नाट्यपात्रका बाह्यान्तरिक रूप र अवस्थाको मानससाक्षात्कार गर्छन् र त

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32

Obolenska, Mariia. "«The score of emotions» as a component of the interpretative strategy in an ensemble performance." Aspects of Historical Musicology 33, no. 33 (2023): 39–64. http://dx.doi.org/10.34064/khnum2-33.03.

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Statement of the problem. The article examines the principles of functioning the emotional component in ensemble performance. The ability to feel emotions is a natural property of a person, so discussion on this topic store its urgent. In the music performance process, emotions “materialize” through the articulation, the techniques of which fixe firmly in muscle memory. Since in the field of ensemble performance a necessary condition is the synchronization of the interpretation strategies of the partners, as an auxiliary tool on this path it is proposed to implement a kind of “score of emotion

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Shadko, M. O. "Realization of the principles of sonor modality in “The Perilous Night” by J. Cage." Aspects of Historical Musicology 15, no. 15 (2019): 199–213. http://dx.doi.org/10.34064/khnum2-15.10.

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Background. At the beginning of the 20th century American music gradually emerges from the shadow of Europe and takes its rightful place. This unique cultural phenomenon arises from the creative work of a brilliant generation of artists. Some authors preferred to develop traditional methods of compositions, others expressed nontraditional, sometimes even shocking, views on the very process of creativity and tasks of art in general. Different thinking, non-standard sound perception, a special approach to creation based on rejection of the ordinary and lack of borders – all this distinguished Am

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Iniutochkina, Nina. "Algorithms of interpretation of poly-timber vocal and instrumental ensembles in the concertmaster class." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (2024): 27–46. http://dx.doi.org/10.34064/khnum1-70.02.

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Statement of the problem. A significant part of the repertoire in the concertmaster class is chamber vocal works that engage the synthesis of Word and Music, that is, the inseparable trinity of the poetic text, its vocal embodiment, and instrumental accompaniment, which calls for the need for accurate correlation of the efforts of the singer and concertmaster, the performers’ synergy. And although chamber vocal works mostly have purely piano accompaniment, in some cases a part of a string or wind instrument is added to it, and then the mentioned trinity of musical and poetic synthesis is compl

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Pliushchenko, M. Yu. "“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 124–44. http://dx.doi.org/10.34064/khnum1-53.08.

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Background. This article is devoted to the actual issues of musical interpretation in connection with one of the most common genres of modern art – genre of transcription in its various aspects. These questions are considered in aspect of genre specificity of transcription as the work with dual authorship that determines a special methodology of such musical samples study, the need of the comparative analysis of the original and transcription versions, the study of principles of composition and artistic interpretation, the manifestations of the performing characteristics in it. This field of c

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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.

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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct o

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Osypenko, Viktoriia. "Actualization of folklore prototype images in the philosophical concept of Yurii Alzhniev’s Song Symphony “Behind the Milky Way...”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (2024): 122–39. http://dx.doi.org/10.34064/khnum1-70.07.

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Statement of the problem. Objectives, methods, and novelty of the research. The experience of studying the archetypes of the culture of Slobozhanshchyna region is offered, through the understanding of their role in the conception of the recent composition by contemporary Ukrainian artist Yuriy Alzhniev. Specific examples of borrowing samples of folk songs from Slobozhanshchyna (the ballad “How a grey eagle competed with a grey horse” from the repertoire of kobzars; the chumak song “Hey, our chumaks were on their way”, the allegorical song “Oh, woe to that seagull”) reveal value and meaning ori

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Youjie, Wang. "Pastoral poetics in the compositions for the flute by European and Chinese composers of the 20th –21st centuries." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 71, no. 71 (2024): 214–39. http://dx.doi.org/10.34064/khnum1-71.12.

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Statement of the problem. The pastoral complex, which is expressed in the genre and stylistic components of musical works, starting with the musical art of the Ancient World, constitutes a separate direction of modern musical semantics. Such a complex is relevant for the flute works of Chinese composers, but it is no less relevant for European flute art. In 20th–21st centuries, the compositions with pastoral semantics were created by the composers of Europe (C. Debussy, A. Honegger, J. Mouquet, O. Messian, S. Gubaidulina) and China (Tang Mizhi, Huang Huwei, Bright Sheng, He Lutin, Li Guochen,

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Eryong, Li. "On Dramaturgy of Russian Romances of S.V. Rachmaninov." Rupkatha Journal on Interdisciplinary Studies in Humanities 13, no. 1 (2021). http://dx.doi.org/10.21659/rupkatha.v13n1.44.

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The relevance of the study is determined by the fact that the main field of Rachmaninov’s vocal creativity was lyrics, the world of personal feelings and moods. In its origins, it is associated mainly with Tchaikovsky’s legacy, which is also manifested in the general emotional “openness”, sincerity and immediacy of expression, and in some more specific stylistic characters. The novelty of the study determines that, like Tchaikovsky, Rachmaninov sought above all to capture the basic mood of a poetic text in a bright melodic image, showing it in growth, dynamics and development. Therefore, there

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Gordeyev, Serhiy. "Conceptual Principles of Directing Modern Ukrainian Dramaturge." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 4 (February 14, 2025). https://doi.org/10.32461/2226-3209.4.2024.322928.

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The purpose of the article is to conceptualise the features of the directorial decision of works of modern Ukrainian dramaturgy through the prism of the trends in the development of theatrical art in 2014–2024. Research methodology. A complex of general scientific and art history methods was applied: the method of theoretical analysis, the system and typological method, the method of observation, the method of comparative analysis, the method of art history analysis. Scientific novelty. The features of theatrical directing were studied through the prism of the problems of staging works of mode

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Toloargă, Ioana. "Matei Vișniec. Spațiul românesc al dramaturgiei postdecembriste – teatrul postdramatic." Transilvania, 2023. http://dx.doi.org/10.51391/trva.2023.05-06.15.

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The present paper proposes the analysis of the dramatic work of Matei Vișniec – a Romanian poet and prose writer, built and validated by the French center as an internationally exportable playwriter, by following the aesthetic-political relationship. I question, above all, the reasons why the parabolic formula is the favorite in the author’s dramaturgy – its causes and effects, in relation to the ideological level and the thematization of the trauma of the communist (/totalitarian) regime. The thesis of my article is that, behind the parable (which implies a form of mediation) and the discursi

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"Genre specifics of L. Andreev's play «The Life of Man»." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 82 (2019). http://dx.doi.org/10.26565/2227-1864-2019-82-03.

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In article is devoted to the thorough analysis of poetics and genre peculiarities of L. Andreev’s play «The Life of Man». The study showed that the important role in this work play modernistic principles of representation of world and person as neomythologism, intertextuality, motifity, dominating of symbolical types and characters, irony, grotesque. The article “Life of a Man” demonstrated that the “new drama” by L. Andreev has been promoting such a type of conflict, which shows the way of collision, where the Wall resists the Man in its various forms. In the "new myth" of the writer, it turn

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Bortnik, Zh. "DECONSTRUCTION OF NATIONAL NARRATIVES: TRAGICOMEDY AND TRAGIFARCE (DRAMATURGY BY L. TYMOSHENKO, LENA LYAGUSHONKOVA, V. CHENSKY)." Mìžnarodnij fìlologìčnij časopis 14, no. 3 (2023). http://dx.doi.org/10.31548/philolog14(3).2023.08.

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The article examines tragicomedy and tragifarce as dramatic genres actualized in modern drama, and characterizes their specifics. The concept of liminality is an effective strategy in literary studies, which made it possible to study the peculiarities of modern Ukrainian drama in the context of the implementation of the genre matrix of the ritual of transition in the genres of tragicomedy and tragifarce. Modern Ukrainian playwrights transform the genre varieties of «domestic comedy», resort to tragicomedy, which is able to demonstrate the inseparable unity of the tragic and the comic as a typi

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Ansor, Muhammad. "WE ARE FROM THE SAME ANCESTORS: CHRISTIAN-MUSLIM RELATIONS IN CONTEMPORAY ACEH SINGKIL." Al-Albab 3, no. 1 (2014). http://dx.doi.org/10.24260/alalbab.v3i1.47.

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The following Paper discusses the Muslim-Christian relations in Aceh Singkil Regency as well as the process of religious identity formation in the context of the debate over the Islamic Sharia in Aceh. First of all I will present the overview of the socio-political context of the regulations of Islamic jurisprudence in Aceh and the position of non-Muslims in such regulations. Next, I will trace the impact of the regulations on the format of the Muslim-Christian relations. Based on the Goffman theory of dramaturgy, this paper found that Muslim-Christian relations in Singkil were a complex narra

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Rudenko, Oleksandr. "The Voices of Three Instruments. Structure and Internal Dramaturgy of the Trio in E Major by W. A. Mozart." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 1 (April 27, 2025). https://doi.org/10.32461/2226-3209.1.2025.327989.

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The purpose of the article is to present a comprehensive analysis of the Piano Trio in E-Dur (KV 542) in order to gain a deeper understanding of W. A. Mozart’s chamber style. The research involves an analysis of the structural elements of the opus, which will contribute to raising the level of performing skills and expanding musical awareness at all stages of professional development. Research methodology. To achieve the purpose of the research, a set of scientific methods was used, including historical and stylistic analysis (study of the historical context and the influence of the era), musi

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Lytvynenko, Viktor. "Traditional folklore as a source of art national style in choreography of Pavlo Virskyi." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 2 (July 14, 2024). http://dx.doi.org/10.32461/2226-3209.2.2024.308381.

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The purpose of the article is to trace some processes of integration of Ukrainian dance and musical folklore into the professional folk stage choreographic art of ballet master Pavlo Virskyi. The research methodology consists in the application of comparative and art history methods, which allow to reveal the degree of interaction of dance and musical folklore with the principles of exposition and development of new dance forms and genres at the level of dramaturgy of the theatrical choreographic works of Pavlo Virskyi. Scientific novelty. The introduction of folklore traditions into professio

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"Poetiks of L. Andreev’s play «The dog's walse»." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 81 (2019). http://dx.doi.org/10.26565/2227-1864-2019-81-15.

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In article is devoted to the thorough analysis of poetics and genre peculiarities of L. Andreev’s play « The dog's walse ». The study showed that the important role in this work play modernistic principles of representation of world and person as neomythologism, intertextuality, motifity, dominating of symbolical types and characters, irony, grotesque. This is the “new drama” which moves behind the scene external conflict and the action, the key role is played by internal conflict and subtext, which is finding realization in neomifological storyline. The study of L. Andreev drama’s chronotop i

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Mammadova Shohrat. "CHILDREN'S STORIES OF ANVAR MAMMADKHANLI: COLLECTION OF MORAL AND SPIRITUAL VALUES." International Journal of Innovative Technologies in Social Science, no. 3(43) (September 28, 2024). http://dx.doi.org/10.31435/rsglobal_ijitss/30092024/8223.

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The general picture of the literary and cultural process in the middle of the last century is connected to the dynamic searches in children's literature in one direction. Rooting of prose, poetry, dramaturgy, publicism, as well as literary-theoretical thought to the national thought is charged with reality in its entirety and actualizes society's consideration of ethnographic and historical richness as a side. Khanimana Alibayli, Teymur Elchin, Ali Karim, Tofig Mutallibov, Ilyas Tapdig, Hikmet Ziya, Mastan Guler, Fikret Sadiq, Mammad Aslan, Zahid Khalil, Tofig Mahmud in poetry, Khalida Hasilov

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Kolk, Madis. "Pühaduse performatiivsus ja kristlik teater / The Performativity of Sacrality and Christian Theatre." Methis. Studia humaniora Estonica 12, no. 15 (2017). http://dx.doi.org/10.7592/methis.v12i15.12116.

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Teesid: 20. sajandil on esile kerkinud mitmeid teatrisuundi, mis on kritiseerinud ja püüdnud ületada Lääne traditsioonilise teatri väidetavat sõnakesksust ning samuti selle võimetust täita n-ö püha kunsti funktsioone. Kuigi seda pühadusedefitsiiti on püütud leevendada ennekõike orientaalsetest teatrivormidest inspiratsiooni ammutades, aitab selle võimalikku tekkelugu mõista ka katoliikliku kultuuri mõjuväljas võrsunud teatrikunsti ning teatrivaenulikuma ortodoksi teoloogia kontekstis välja töötatud ikooniteoloogia võrdlus. Kõrvutades nende kahe konfessiooni teoloogilis-esteetilisi arusaamu, sa

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D.K., Kudaibergen, Mussakhjayeva A.K., and Yeginbayeva T.Zh. "The Art of Singing Culture: Modern World Picture." Journal of Posthumanism 5, no. 7 (2025). https://doi.org/10.63332/joph.v5i7.2937.

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The study of the issue of the aesthetic specificity of vocal and performing arts made it possible to discover a very contradictory situation in scientific works. On the one hand, the history of vocal music has been studied in many ways, there are fundamental works on the problems of the connection between music and words (V. Vasina-Grossman, O. Sokolov), a methodology for analyzing melody, harmony, dramaturgy and composition of opera works has been deeply developed (L. Mazel, E Ruchevskaya, V. Kholopova), a theory of genres of vocal music was created (O. Sokolov), studies of the style of vocal

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