Статті в журналах з теми "All-level dramaturgy"

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 – the issues of historiography and style formation. However, focusing mainly on the identification of specific methods of using individual elements of the entire complex of music and expressive means of jazz art, scientists are less interested in the study of more «in-depth» issues, such as interpretation in jazz art, form building, semiotic and hermeneuticmethods of jazz music evaluation, musical dramaturgy. The concept of jazzmusic making remains unexplored. In our understanding, the study of musical dramaturgy deserves special attention, because at its level the coordinates of jazz music as a complex improvisation process converge. Objectives. The purpose of the article is to identify and study the main factors that determine the principles of formation of jazz musical dramaturgy at the level of solo piano composition. It is the improvisational nature of the composing and performing arts as well as the absence of a detailed musical notation that indicate the need to study the subject and an attempt to provide its scientific substantiation. Methods. The methodology of the study includes analytical, comparative, systematic and stylistic methods. This methodological basis allows us to identify the principles of jazz musical dramaturgy from the standpoint of piano jazz art, which, in the author’s opinion, gives an opportunity to speak about the peculiarities of organizing a musical text with the texture of different types of arrangement. Results. Over the last decades, jazz, without losing its specificity, has increasingly shown a tendency to interpenetrate with academic musical art, and at the same time become universal. An example of this could be the creative work of the renowned Kharkov jazz pianist Sergey Davydov. Turning to the specifics of the solo improvisational mastery of the pianist, we should distinguish the following important vectors in his work: commitment to the synthesis of jazz and academic traditions, tendency to polyphonize the textual presentation of the musical text, the use of the sonata principles as a consistent processual development of the whole complex of music and artistic ideas. The subject of the analysis offered in this study is a demonstrative example of the arrangement of the musical text of S. Davidov’s solo improvisation, which he demonstrated at the international festival “S. Rakhmaninov and Ukrainian Culturе”, which took place in Kharkiv in 2007 (the analysis was made on the basis of the video footage). The uniqueness of this example is that the pianist in his improvisation synthesized jazz intonation-rhythmic idiom with constructive and creatively inventive correlation of textural and compositional techniques of S. Rachmanino’s pianism. The conducted analysis confirms that S. Davydov, in addition to using the whole arsenal of specific jazz means of organizing sound fabric, adapts in his improvisation texturally-theatrical principles characteristic of S. Rakhmaninov’s work, and not only at the expense of quoting, but and at the intonational level. The factual organization of the composition, in this case, is based on the use of the potential of large and passage techniques, which brings together S. Davydov’s creative concepts with the aesthetics of virtuosity of European pianist composers of the Romantic period. Solo improvisation is analyzed – a kind of musical recital, which lacks the traditional jazz principle of formation based on variational construction, and is dominated by freely interpreted sonatas. Conclusions. Thus, the basic principles of musical dramaturgy formation in jazz art are: the use of specific jazz means of expression, which in the light of textual organization of the musical text realize the emotional and meaningful tension, forming a clear dramatic outline of the whole composition. Conflict, as a multilayered, comprehensive process of choosing an aesthetic position in the climax, reaches a point of dramatic ignition due to specific performance factors: dynamics, agogics, textural-rhythmic combinations. Not only specific performing skills but also energetic translation of the ideological content of the whole composition are involved in this process. In the context of jazz musical dramaturgy, one more important factor, which is fundamental in both solo and ensemble jazz art, is specific communication. However, when compared to academic music, where the listening strategy is interpreted as a «strategy of co-intonation to the sound form» but in jazz culture it is the listener who, at the level of the performer or interpreter, is a direct participant of musical dramaturgy creation. This is expressed by applause at times of intense tension or after the most successful improvisation of one of the ensemble members. Summarizing all the above, on the basis of the analysis we have tried to give our corrections to the concept of «musical dramaturgy in jazz» – is a thematic process of juxtaposition and interaction of elements of jazz language that contains various polystylistic complexes of Western European academic art, directing the energy of communication to the higher artistic unity of a jazz work.

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 literary and musical language of The Queen of Spades pose the question to the researcher: to what extent was the unfolding of this process in the composer’s consciousness rational. It is precisely the totality of the manifestations of this plan, its action in musical dramaturgy at the level of rhythm (rhythmic patterns and figures that form groups of three, seven and twelve durations), metre (the most indicative is the choice of the rare time signature 12/8 and giving it leitmotiv status in the part of the Countess), harmony (three-chord chains), mode (the use of whole-tones not only brings in a rich colouring, but also becomes one of the “building blocks”), tonal plan (h/H as the most important tonal centre), musical syntax (“tripleness” in the organization of motives and phrases), melody and — more broadly — thematics, as well as composition convinces us that before us lies a complete system that has been reproduced probably for the first time in world opera literature. Keywords: The Queen of Spades, opera, Pyotr Ilyich Tchaikovsky, Modest Ilyich Tchaikovsky, Alexandr Pushkin, number symbolism, musical dramaturgy, composition, libretto For citation: Goryachikh, V. V. (2025). Numerical Symbolism in the Musical Dramaturgy of The Queen of Spades by Pyotr Tchaikovsky. Contemporary Musicology, 9(2), 106―133. https://doi.org/10.56620/2587-9731-2025-2-106-133

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 were conducted with 31 high-level executives employed by large USA companies in several industries. What those companies provided was interpreted through the theoretical lens of institutional theory and amounts to a qualitative content analysis approach to the subject.FindingsThe authors find that institutional theory well describes the important features of analyst guidance. Participants are aware of the broad societal interest that exists in the outcome of the guidance process. The participants accept the need for independent analyst opinions about their companies and their future prospects. In many ways, executives provide analysts more than just raw information and employ strategic structuring for analysts to produce expectations that will allow their companies a favorable pathway to future success as such is judged by the markets. The result is understood as being in the best interests of all market participants, even if it disproportionately benefits current corporate leadership.Research limitations/implicationsResults are dependent upon the interview process, needing the correct questions to be asked and the willingness of interviewees to speak their lived truth. The paper calls into question traditional capital markets studies that evaluate quantitative relationships between projected accounting balances and subsequent stock market prices as a literal truth or as the result of scientific calculation.Practical implicationsMarket participants should be somewhat more skeptical about companies that are routinely able to meet analyst expectations. To a large extent, such displays do not just happen but instead are manufactured to take place by virtual of a careful dance that is mindful of excesses on several sides.Social implicationsThe antagonistic interests of two important groups in the stock market is actually an unrecognized symbiotic dependency that prioritizes continued permission.Originality/valueThe accounting literature is very dependent on the work product of analysts. This is a rare opportunity to peak behind the curtain of their expertise in a critical fashion. The paper breaks ranks with the literature by trying to understand the thinking behind the narratives of capital market participants.

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 traces the development of dialogue between various cultural realities in Lesia Ukrainka’s dramatic works. This allowed elucidating the peculiarities in the artistic representation of the exotic topoi of different countries as the significant feature of Neoromantic and, in general, Modernist discourses, which were basic for Lesia Ukrainka’s writing. The textual analysis of Lesia Ukrainka’s dramas reveals the specific features of unfolding the ‘One’s own — Alien’ conflict, first of all, on the ethnic-mental level, epitomized in the ‘conquered — conqueror’ collision of the plays “Babylonian Captivity”, “Over the Ruins”, “Orgy” and “Boiarynia”. The other dimension is the worldview and religious level, mostly realized through the collision ‘Antiquity — Christianity’ (“In the Catacombs”, “Rufinus and Priscilla”, “Martian the Lawyer”, and others). It is proved that the ‘One’s own — Alien’ conflict deepens the problems of the works and serves as a way to reveal the essential characteristics of the heroes. The paradigm of the mentioned conflict highlights the borders of the national and personal identities, emphasizes axiological concepts and active ideas, fundamental for Lesia Ukrainka’s dramatic works, such as the tragedy of misunderstanding, the need for constructive dialogue, the necessity of choice, the search for spiritual and national freedom, the meaning of sacrifice, and the role of art.

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, from the 1820s until the 1880s, literary studies in Brazil underwent a period of expansion and diversification. If in the 1800s literary education was conducted at high-school level, from the 1930s onwards university courses in literatures began to be established in Brazil. In this paper we will provide a short introduction to Brazilian literary criticism and historiography from its very beginnings to the present time.

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 performance in the theatre; however, there is rarely — if ever — any discussion about form: Why did this performance begin with a play? Or, why did the performers play characters? Why did a performance happen in a theatre, as opposed to some other place? Why perform for a live audience? All are possible questions that seem rarely asked, perhaps because they are considered beside the point… . But why? If we can agree that most theatre productions, on one level or another, are manifestations of the dreams of those who create them, and that, therefore, theatre is a space of public dreaming, it might be a really good idea to consider why our “dreams” assume the form they do.

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 Penelope are travestied and deheroized, while Odysseus himself is stripped of his heroic stature. The issue of identity, as it pertains to the character of Odysseus, is interpreted as one of the central themes of the play. Its exploration is structurally realized at the compositional level through the motif of recognition. Schütz’s artistic engagement with myth is assessed as being in line with the main tendencies in the reception of Antiquity within GDR dramaturgy. The play is demonstrated to possess a pronounced socio-critical orientation, reflecting on the consequences of totalitarian regimes and the mechanisms of ideological formation. This thematic exploration is embodied in the text of the drama through the metaphor of illness as a tool for controlling public consciousness.

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, Boborykin turns to Shakespeare to criticize the contemporary theatre in all its manifestations — from the quality of plays, the choice of repertoire by theatre administration, acting, to the level of the audience. When evaluating A. N. Ostrovsky’s dramaturgy, the writer uses criteria developed by himself for analyzing Shakespearean theatre. Boborykin does not recognize historicism in artistic texts due to the author’s inability to be unbiased in reproducing the realities of the depicted era. In relation to Shakespeare’s plays, the writer introduces the term “universal human nature”, implying the reflection by the playwright of his contemporary reality in the settings of the chosen era. Boborykin reproaches A. N. Ostrovsky for an abundance of epic elements which, in his opinion, are unacceptable in dramaturgical art. Shakespeare’s works became the aesthetic, artistic, and philosophical foundation for the writer’s system of evaluating theatrical art.

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 the essence of the author's idea, reflect and emphasize the details found in the text in the language of choreography. The novelty of the research lies in the fact that when analyzing several key performances from the choreographer's creative biography, the prospect of considering the literary line of his ballets as a separate phenomenon opened up. As a result of the study, the following conclusions were made. Firstly, an important feature of Neumeier's ballets, based on literary works, is a clearly structured dramaturgy of all components of the performance: action, music, choreography, set design. Secondly, when working with a literary source, most often the choreographer transfers the action to the modern world, while not going against the author's intention, but on the contrary, enhances the relevance of the themes embedded in the works, declaring the timeless existence of the meanings of the text. Thirdly, the interrelation of literature and choreography in Neumeier's work takes the choreographer's work with the text to an absolutely new level, which allows us to talk about the great possibilities of non-verbal interpretation in the ballet theater as a whole.

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 yet been at the center of musicological research and open up new perspectives for learning of genetic links between urban music and popular contemporary music in Ukraine.The purpose of the study is to analyze the genre and intonation features of Viktor Morozov’s albums, the principles of their cyclization, to explore the genetic links between batyar and neobatyar songs.Results and conclusions. Each of the three albums “Only in Lviv” (“Tilku vi Lvovi”), “Heart of the batyar” (“Serdtse batiara”) and “Batyarsky blues” (“Batiarskyi bliuz”) reveals itself as a large genre, which structure builds an expanded musical dramaturgy. In many aspects, it is connected with principles of the cyclization of academic genres, in particular, the vocal cycle and the program suite. The basis of the dramaturgy development of the albums was the method of contrast at the level of thematic, genre, tempo-metric organization. In addition, all three albums actually formed the one line of transformation of batiar songs from the authentic sound of songs from the period of the 20–30s of the twentieth century, and to new author’s — neobatyar songs, there were created on the basis of modern genres.New plots and themes of the verbal text of neobatyar songs also directly appeal to the original period of the first Lviv batyars at the beginning of the 20th century. The love adventures of the batyars, the struggle for authority and respect among the representatives of the subculture, the love for the native city, the glorification of fearlessness, life with not burdened by laws and fear became the main topics in neobatyar songs too. A characteristic local dialect is preserved, including a combination of vocabulary of various language systems; the use of lexical distortions, obscene vocabulary takes on a new embodiment through modern neologisms, borrowings. Songs are still performed exclusively by men, and the main genre outline is dance, including polkas, waltzes, tango, staer and others. The phenomenon of the double nature of batiar songs is organically embodied, where folklore and author’s songs are expressed through a combination of anonymous and original songs of the prewar period and neobatyar songs created by the authors of the albums. The nebatyars headed by V. Morozov in the albums “Only in Lviv”, “Heart of the batyar” and “Batyar blues” deliberately appeal to the layer of batyar songs, aiming to give new life to the old batyar song genre in the context of modern musical trends, to save the unique phenomenon from oblivion, rethink them in the context of the realities of our time. Thanks to the conceptual approach to the creation of the aforementioned albums, the authors managed not only to organically continue the musical traditions of batyar songs, but also to give them new life at a fresh, even brighter artistic level.

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 actualizes the need to see it as a holistic phenomenon, which prompts detailed study in various analytical projections. The purpose of the article to analyze the features of Vsevolod Zaderatsky's polyphonic thinking in the cycle "24 Preludes and Fugues". Methods. In the article systematic and historical research methods are used. The results and conclusions. Undoubtedly, the main prospect of further scientific research of the cycle is its introduction into performance practice, because understanding the deep processes of polyphonic music is the key to successful performance interpretation. "24 Preludes and Fugues" by Vsevolod Zaderatskyi is a unique work in many aspects. The cycle combined traditional and innovative features, which predicted several new directions for the development of the 20th century fugue. The fugue underwent a significant transformation at various levels, and first of all, at the level of polyphonic thematic due to the specific scale and the principle of monothematic. The changes affected not only the theme of the fugue, but also other components of the fugue: countresubjects and episodes. The structural factors of the overall structure changed, the functionality of the sections, where the main trend was the expansion of the boundaries of the developing section and the desire for end-to-end development. The analysis of dramaturgical principles allows us to state that the composer managed, thanks to a single idea, to build a multidimensional structure with end-to-end dramaturgy, starting with its smallest element, the theme, and ending with the interaction of small cycles among themselves.

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 choreography. The links between 19th-century opera and its broadly conceived dance component are the subject of a highly inspiring essay by Maribeth Clark, whose arguments, theses and conclusions we also present here in detail. Stanisław Moniuszko’s operatic style is commonly associated with Polish dance rhythms. Still, salon dance should also be considered, apart from national dances, as one of the keys to the composer’s entire oeuvre. In a study of his stage works from both the Vilnius and the Warsaw periods, the dance idiom will not be limited to the presence of dance rhythms in the protagonists’ arias or to the ballet sections. Dance qualities can be discerned in Moniuszko’s music on a much deeper, fundamental level of the construction of operatic narration. Dance is frequently a hidden mechanism that serves as an axis of development for the presented events or as an element that organises the dramaturgy of entire scenes and instrumental passages. This paper is an attempt to take a fresh look at the role of the dance idiom in Moniuszko’s operatic narrations, an initial reconnaissance, in which I point to the sources of the composer’s inspirations and illustrate my theses with specific examples.

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 Boucicault. Working with the play of the 19th century, which reveals the problems of slavery in a simplified, melodramatic form, allows the contemporary playwright to actualize the consideration of racial conflicts and to reconstruct/deconstruct the generic model of melodrama. The author of the article draws attention to the reception of the minstrel tradition in the play An Octoroon, both at the level of interaction of D. Boucicault's work with American minstrel show coinciding with it in time, and in connection with the comprehension and overcoming of the “minstrel archetypes” by B. Jacobs-Jenkins. The question of casting is very important to Jacobs-Jenkins, the playwright puts forward his requirements for ethnic conformity between actors and roles in his plays, and this brings together An Octoroon and Gloria, though the works are diverse in genre and subject matter. The cultural context for the works of the American playwright is, first of all, the drama and theater of the United States throughout their development. For further studies it also seems interesting to consider B. Jacobs-Jenkins’ plays in connection with folklore traditions or, e.g., in the context of sacred genres.

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-substantive unity of the elements of dramaturgy and Erickson’s staged model constitute the scientific novelty of the study. The purpose of the study is to show that the drama of the film, the structural elements of the compositional set of stages of the hero’s way, the transition to new states through passing tests and gaining knowledge correspond to the stages of ego-identity formation, reflecting the person’s ability to overcome problems by transforming himself in the process of interaction with social categories. To achieve this goal, a comparative-typological method is used to solve the following problems: highlight the general structural and substantial characteristics of the initiation rite as a process of formation and development of the hero’s identity and way, built on the basis of the monomith structure; describe the possibilities of reflecting the psychological processes of the formation of ego identity at each stage of the structure of the hero’s path; based on the analysis of individual films show ways to reflect the stages of building the ego-identity of the hero in the meaningful characteristics of the stages of his path as elements of film dramaturgy. The subject of analysis in this article is the relationship of the stages of the way of the hero and level them solve psychological problems with the content of normative crises build ego-identity. The structure of the cinematic in the work relate to the sequences and stages of identity formation. The hero, moving from a state of "ordinary world" to the main test encounters problems, the relevant stages of identity formation. The hero of the film stay in the everyday world at the initial stage of the journey to the main test involves going beyond the existing knowledge about yourself and meet new requirements to change yourself, which can be done with varying degrees of success. If the hero has successfully passed the first stage of identity development, at this stage it has no problems and when confronted with the limits of private autonomy, he can hear "the call to pilgrimage", and the transition to the next stage of the journey will include a manifestation of the activity of changing yourself in gaining this autonomy. But if the confidence in the world the character was not formed, the call to travel in the form in which it is presented in the film, is seen as a confirmation of the fragility of the world and causes no movement in the direction of learning and change itself, and the movement in the direction of test the strength of the environment. In this case, the stages of the traversed path will not lead the protagonist to a complete solution of the problem of ego-identity, and throughout all the stages of the way the hero will solve these specific problems, moving consistently towards a successful or not successful gaining of trust to the world or the formation of learning ability. The research is based on the material of Russian and foreign cinema 20th-21st centuries.

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 day-to-day contexts that socially and politically transform and define the migrant experience: Caliban becomes a hotel cleaner, King Lear a construction worker, Hamlet a meat packer and Katerina Minola a barmaid, simultaneously subservient while also ironically sarcastic and physically strong. Thus, at one level, all the actors were performing their own migrant identity. In this article my primary aim is to analyse the digital text of the ‘Migrant Shakespeare’ project. Methodologically, I describe the ten performances and record my personal attempt to make meaning within the dialogic relationship between myself as spectator, the author and the migrant actors. Shakespeare often imagined that it is only in faraway places and in displaced realities that we discover other possibilities that exist within ourselves. His plays feature (among many instances) a penniless and homeless old man, King Lear, thrust out into the wilderness, Prospero, the displaced Duke of Milan, who is exiled to an unpopulated isolated island and Prince Hamlet, a privileged young man who is transposed to an unrecognizable world of grief and loss. The migrant is similarly decentred on a daily basis, repeatedly required to redress the balance between old and new identities while being simultaneously present in both. This article attempts to understand how the experience of contemporary migration may be explored through the similar destabilization inherent in Shakespeare’s dramaturgy. Furthermore, I argue that the craft of acting mirrors the experience of the migrant. At one level, all actors are ‘foreign’, as their profession requires them to migrate from their individual identity to that of the character they are playing. A working actor is thus always concurrently present within two selves. Consequently, they are polysemic, that is, in performance actors signify the characters they portray, while simultaneously remaining different, functioning human beings. Generally audiences may, or may not, be directed to a meta-theatrical awareness of the actor’s two identities and herein can lie much of the enjoyment and/or meaning of performance. This article concludes that, where ‘Migrant Shakespeare’ is concerned, the spectator is directorially guided to incorporate a personal recognition of the migrant identity or ‘other’ within a reading of the performance text. Audiences are confronted by a strong awareness of the polysemic body of the migrant actor embodying Shakespeare’s often decentred and destabilized characters. I suggest that this process of complex signification destabilizes the text in performance creating new readings and, consequently, suggests a new decentred understanding of the concept of contemporary ‘Britishness’.

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 methodologically advanced phenomenological analysis. A. Karipova traces the connection of musical phenomenology with E. Husserl’s temporal concept in her research. T. Ivannykov studies the phenomenon of guitar art. The phenomenology of style, which was first introduced into the scientific musicological circulation, is studied by the article’s author in the PhD research. Objectives. The article’s objective is to form a musicological discourse on the problems of musical phenomenology on the basis of existing scientific sources and to reveal the understanding of composer’s style as a phenomenon of musical creativity. Methods. The research methodology is focused on the synthesis of different approaches: historical, functional and structural, genre, stylistic performing and interpretive, phenomenological approaches. Results. Phenomenology as a direction studies phenomena, reveals their content by means of structural complexes in their integrity. In the 19th century, the search for common interconnection and common methods of a unified process of cognition began in Western European philosophy. The theoretical concepts of the leading philosophers and phenomenologists E. Husserl, F. Brentano, M. Heidegger are considered. Extrapolation of the teachings of outstanding philosophers and phenomenologists to the material of musical art proved that Phenomenology as a process of cognitive knowledge of musical creativity reveals the fact of an individual performer’s experience as well as the experience of his artifact, which at the final stage forms the result of theoretical understanding. The valuable concepts of phenomenology of musical creativity by L. Akopian, O. Losev, M. Arkadyev, Z. Fomin, R. Kurenkova, V. Sokol, O. Krayeva, A. Karipova, I. Konovalova, T. Ivanikov are considered, which determine the musicological debate and give perspective on this issue’s development. Music, as the comprehension of being, is an irrelevant form of its expression, it contains meanings that do not “lie” on the surface, requiring their understanding and recognition. Therefore, the phenomenological approach leads to the isolation of a special subject named “phenomenology of musical creativity”. Accordingly, the phenomenology of musical objects is a method of musical phenomena recognition defining the descriptive function of their essence. Since phenomenology is involved in musical creativity, it should be noted that it is connected with a created, completed and final product (work), its performer, and subject (listener). Therefore, phenomenology can be involved at all levels of musical communication: both external (genre, performer, listener) and internal (work, form, dramaturgy, style). Phenomenological approach to the study of the composer’s style specifics leads to a structured attitude to the content of musical phenomena. The broadest sense for the extrapolation of phenomenology to musical art gives the notion of life-creation, whose meaning implies not only an artist’s belonging to historical age and composing school. The phenomenology of composer’s style is connected with the knowledge of a work’s semantic orientation in its “performanceappropriate” style reproduction. The performance concept is an appropriate task of phenomenology in the sense of knowing the semantic direction and its performanceadequate reproduction that is personal interpretation. Thus, before performing the compositional structure of a work and type of musical dramaturgy, a performer should establish a research position. In order to develop a work’s phenomenological concept, it is suggested to consider all factors of composer’s style as a two-level system: general stylistic intonation and performing concept. Сonclusions. The actualisation of the phenomenological method of cognition is evidenced by the various positions (cognitive attitudes) that relate to the subject who is the subject of “composer – performer – researcher” creativity. The levels of manifestation of creative phenomenology are fixed in the artifacts (a composer’s musical archive, audio and video recordings of different performers) should allow to consider composer’s style through its evolution. The model of style phenomenology is built as a system of functional levels and connections between them that emerge on musical communication basis (author – performer – listener).

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 sacred architecture, which constitutes the scientific novelty of the proposed study. The purpose of the article is to study the compositional features of architectonics of Sarabanda in B minor to reveal the associative parallelism between form-making in music and temple architecture. The following methods of analysis are used: – spiritual-semantic and synergetic as tools for studying the spiritual dimension of the composer’s thinking and its reflection in musical architecture; – a comparative method and a modeling method that allow drawing parallels between musical architecture and temple architecture. Results and conclusion. It has been established that the sound thinking of the composer within the limits of the baroque sarabanda gives an opportunity to feel the master’s awareness of the sacred value of the “eight eights": the “initial squareness” unfolds into “non-squareness” and is restored at a higher level of the compositional structure. The multidimensionality of the thematic core of the work contributes to the construction of the spiral architecture of the work (Spira mirabilis), the originality of which is revealed when its factors are transferred to a higher, semantic, level of dramaturgy. Consequently, “an upward compositional modulation” (initiumprogressus-complementum) occurs, during which a number of associative architecture parallels emerge: the genre of the Lutheran chorale associates with the sacred “foundation” of the musical “temple”; two tonal spheres (h-moll / D-dur) – two “spires”; the “question-answer” process between the cadences of the exposed “facade” – with arch supports, “archbutanes”; the exit to the subdominant sphere of E minor at the point of the “golden section” – with “light window”, “rose” of the Gothic temple, etc. The comparison of musical architecture and temple architecture is due to the multidimensionality of psychological aspects of perception, where “everyone is looking for his own way” (according to C. G. Jung), and the common laws of Harmony are able to affirm the perfection of a higher order – Life in all its manifestations, reviving what is so necessary in our time sacred semantics of Beauty.

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 thinking, constructivism, and the concept of Ostrovsky’s secret mysticism of the Russian soul were combined for the first time. Actress Alisa Koonen delved into the archetype of the heroine. The avant-garde production of Sergey Eisenstein’s “Enough Stupidity in Every Wise Man” at the First Workers’ Theatre of Proletkult (1923) was connected with the ancient tradition of the fairground booth show. For the first time in the history of the Russian theatre, a director used the principles of open actualization of the classic play, the connections between drama and the circus, cinematic methods in the theatre, and a “montage of attractions”. “A Profitable Position” staged by Vsevolod Meyerhold (Theatre of the Revolution, 1923) was associated with Russian romanticism. The production revealed the two worlds — the spiritual reality in the opposition to the material everyday life. The metaphorical performance was built according to the principle of a thematic development similar to music. In “The Forest” at the Meyerhold Theatre (1924), the director contrasted three genres and semantic layers: a farcical level, a love line, as in Russian romanticism of the 19th century, and a layer that united the structure — acting and theatricality (the leitmotif of actors and acting). The visual dynamic of the dialogue with hyperbolic expression became the director’s principle approach. In his work on the production “An Ardent Heart” (Moscow Art Theatre, 1926), Stanislavsky created the phenomenon of the psychological grotesque. The performance was perceived by most critics as satirical and accusatory. Stanislavsky did not lose interest in the motives of human behavior, especially of a theatrical nature, and revealed a certain way of human thinking. The progress in the new discoveries in Ostrovsky’s dramaturgy in the first half of the 1920s shaped the main courses in which the Russian theatre was developing in the 20th century.

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 “Witchery songs” in order to understand the multidimensionality of the late style of M. Shukh (2010). Methods. The methodology of the research is based on the genre, stylistic, structurally functional, intonation-dramaturgicaland semantic scientific approaches. Results. The structure of the cycle includes three miniatures created in different years (1993, 2006 and 2009). The composer combined them into a new author’s concept: the unifier was the image of the author’s contemplation, meditation on various images of O. Kryvoruchko’s poetry, which was related to his spiritual universe. The program title of the cycle “Witchery Songs” chosen by the author is general, borrowed from the dramatic imaginary sphere of the first movement. The first movement “Practising witchery on a Gray Seagull” embodies the image of a seagull appearing in different forms: as a white bird, a symbol of purity, and the grey one, which had been grief-stricken and died, leaving behind baby seagulls. The poetic text is abundant with symbols of death (“black water”, “bitter mountain”), and vice versa, with signs that symbolize hope: “clear field”, “pure wonder”, “white grasses”. At the same time, the name of the movement, its folklore bias and content also point to the image of witchery, which is embodied by M. Schukh in thematism through meditation (means of tempo and timbre dramaturgy, “dark” modal and tonal focus). The metrical organization of the movement attracts attention. If the beginning of the introduction is presented in the 4/4 time, then in the enunciation of the main theme (bar 7) the composer uses an odd meter of 11/8 with the subsequent change to 10/8, 5/8, then 3/4. The frequent change of the metric rhythm indicates the relation of the musical stylistics of this theme to the Ukrainian folk-song tradition. The second movement “Night” contains no specific symbolism of practising witchery: the semantics of the night includes rather a genre model of a nocturne with its onomatopoeia (breeze, bells, stars, moon). A beautiful pattern is perceived as an intermezzo between the dramatic text of the cycle exposition and the celestial lullaby, which elevates the earth’s feelings to the Light. The movement reveals a magical picture of nightlife. The composer embodied this contemplative image by creating light meditation. Major colour, quiet dynamics, slow tempo, and chamber-like use of musical expressiveness all contribute to the basic essence of a meditative state – calmness and relaxation. Meditative onomatopoeia interfuses the whole movement – a light breeze, lighting up the stars. The image of the bell is found in all parts: the first soprano part has a poetic text – “the wind tinkles “, the alto one has mormorando, a singing technique, the second sopranos – syllables “din, don” with sonorous singing of the last “n”. In this part the composer often applies the techniques of free development – glissando, tenuto, rhythmic variety – triples, long delays. In such a way the artist sought to “let the performers go”, creating a meditative image of night silence. In the third movement, “Angelic lullaby,” meditative semantics is multiplied, since the genre of lullaby, like meditation, has a calming effect. Thanks to its name the composer gave the song a higher, deeper meaning. Musically, the composer filled the imagery of the movement with an incredibly expressive theme, onomatopoeic techniques similar to the previous movements: imitation of a breeze, hum of birds, stream overflows. Basically, the theme of the movement unfolds with the help of a spiral-like motion technique, the sound of which contributes to the lulling of a baby to sleep. The rhythmic basis of the theme is coloured by the intonational ostinato. The metro-rhythmic structure plays a special role in the dramaturgy of the movement: the composer often changes time signature, a large number of syncopescolour the musical texture, adding depth and at the same time lightness to the texture, and making the choir sound elusively charming. Conclusions. The semantics of the work is formed by stylistic synthesis (folk elements of the musical language embedded in the poetic text of O. Kryvoruchko; sacral signs – bells, angelic lullabies and onomatopoeia), emphasized at the soundintonational level. Taking into account the program subtitle (Practising witchery), the work, at first glance, seems to be a “cognitive dissonance” in the context of spiritual themes predominance in M. Schukh’s music. However, in the original concept of the composition, the composer clarifies for the thoughtful listener his idea – “modulation” way from mythopoetic (earthy) magic to the sacredness of the spiritual type (blissful sleep). The use of folklore stylistics shows that the artist continued the national tradition of O. Koshits, L. Dychko, Ye. Stankovich and others in the choral genre. Such a genre-stylistic decision is today perceived as an actualization of the appeal to traditional folk art, through the lens of philosophicalreligious poetics of author’s thinking.

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 context of the new artistic and aesthetic paradigm, not the last place belongs to cluster technique as one of the advanced methods of composing musical dramaturgy. Being to a certain extent limited in the level of universality of its musical embodiment, but the one that brings a new, very fresh and somewhat “extravagant” intonation-figurative expression, cluster technology in its manifestations in contemporary bath compositions, it shows a wide variety of varieties. In turn, this has led to the emergence and functioning in the modern musical practice of different approaches to the choice and use of graphic symbols and marks in the process of fixing identical musical meanings and ideas. To date, all these latest forms and attributes of graphic embodiment of the elements of the sound cluster layer remain quite heterogeneous, which complicates their unification and further use in the creative process. Therefore, the problem of analyzing, systematizing and organizing the latest approaches to the notation of sound field of button accordion music, including components of cluster technology, remains a relevant need for defining ways of development of the latest sheep graphics systems, and for further comprehension. The purpose of the study is to analyze and systematize the forms of graphical fixation of cluster elements of the sound field, which are widely used in the contemporary creativity of Ukrainian composers in the field of button accordion music. The methodology used in the article is based on the involvement of methods of theoretical musicology (first of all, the analysis of expressive means, elements of musical language, techniques of composition, etc.), as well as methods of structural and systemic analysis, generalization and classification. The results of the work are concentrated on the coverage and systematization of varieties of notation of cluster technology components in the contemporary button accordion of Ukrainian composers. The novelty of the work is that for the first time in modern musicology the analysis and systematization of forms of graphical fixation of cluster elements of the sound field, which are widely used in the contemporary creativity of Ukrainian composers in the field of button accordion music. The practical significance of the work is the possibility of using it in theoretical courses: methods of teaching games on accordion, modern music, modern techniques of composition, as well as in the practical work of teachers in the class of accordion and button accordion performers of the concert sphere. Conclusions. Thus, in the system of notation of contemporary button accordion music, its sound components, created on the basis of cluster technology, today have found their introduction, mostly at the level of individual-author systems of graphic symbolism. This affected the functioning in the musical practice of a certain variety of sign elements for identical sound formations, which does not contribute to their unification and formation of a unified style of graphic notation of contemporary button accordion creativity. Systematization of the types of graphical fixation of the cluster sound field should be formed around the typological classification of manifestations of cluster technology and its varieties. Further development of the problem of musical notation in the river of contemporary button accordion creativity (including elements of cluster technology) should be aimed at its unification and introduction of a single system of graphic symbolism.

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), based on the play of the same name by I. Karpenko-Kary, and “Love” (2018), based on the play by M. Kropyvnytsky “Where is grain, there is chaff”, in the Kharkiv State Academic Ukrainian Drama Theater named after T. H. Shevchenko. At the same time, there are still no scientific works by art critics, in which these performances were analyzed and the creative assets of the director were understood. Objectives and novelty of the research. The purpose of the study is to prove that O. Kovshun’s productions “Burlaka”(“Rover”) and “Love”, which based on interaction of such art types as theater, cinema and music presenting non-standard directorial decisions, correspond to the principles of postmodern theater. For the first time, Kovshun’s performances “Burlaka” and “Love” are considered from the point of view of postmodernism aesthetics, which makes it possible to estimate the director’s work from a new angle. Results of the research. In the performance “Burlaka”, Kovshun transposes the plot of KarpenkoKary’s play to the 2000s and, thanks to the postmodern literary game with the pre-text, turns it into a modern plot talking about both, the local elections and the current problems of the country. The same technique of transposition is used by the director in the play “Love”, where the audience is immersed in the 1970s and 80s, and only the plot of Zinka’s love for Roman remains in the play. Kovshun’s active use of images-symbols in his performances allows to interest the intellectual viewer, to force him to start thinking about what he saw and heard. At the same time, images-symbols help to better understand the director’s ideological and artistic concept of performances. Conclusion. The study showed that O. Kovshun creates the postmodern performances, and it can be revealed on the levels of poetics, the director’s experiments with new symbiotic genre forms (the director’s definitions “horror comedy”, “mystical drama”), the synthesis of the theater of “experience” and the “physical” theater, and the stylistics demonstrating eclecticism, which in “Burlaka” is observed in scenography and musical accompaniment, as well as on the dramaturgy level that be influenced by cinematographic technique on the construction of the scenes. In “Love”, a certain selection of domestic and Western European songs carrying self-own contexts allows to more accurately reveal the experiences of the heroine. The solo, couple and group dances and pop numbers play an important role in the performances. All this allows us to speak, in our opinion, about the crystallization of the artist’s postmodern creative method.

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 reveal the compositional and dramatic features of the Sonata for oboe and piano by F. Poulenс. Results. Some specific techniques characteristic of S. Prokofiev’s works as a sign of respect for the Russian composer are used in the Sonata for the oboe and piano by F. Poulenc. This work has a genre and narrative-psychological program, as evidenced by the names of the movements: “Elegy”, “Scherzo”, and “Sorrow”. The title of the first movement – “Elegy” – means “mourning song” in Greek. This genre is quite common in the works of Russian composers. It seems legitimate that, in devoting his sonata to S. Prokofiev, F. Poulenc gave the first movement a title related to Russian culture. Songful, clear in structure melody is harmonized with the involvement of transitions to the distant keys. The second movement of the Sonata – “Scherzo” – contrasts sharply to Elegy. Exquisite harmonies and complex polyphonic combinations are replaced by monophony. If in the first movement the text of the piano part indicated the use of a soft deep carcass, the second movement applied a sharp, sometimes too rough, martellato. Elegy’s sophisticated agogics are destroyed by “iron” metricity, precision, and regular Scherzo’s accents. The Scherzo genre is interpreted here in a sharp grotesque way. The introduction begins in the dynamics of f and has a rigid rhythm. The parts of both instruments are completely equal. The endsections of Scherzo are steeped with “hypnotic” rhythmic movement. The middle section of the second movement is lyrical. The thematicism of the Scherzo middle section refers to the lyrical pages of S. Prokofiev’s work. The semantic center of the entire sonata for the oboe and piano by F. Poulenс is the third movement – “Sorrow”, which is a kind of musical epitaph. Created shortly before the composer’s death, the sonata can be considered one of thefinal results of his career. Perhaps this is not only a tribute to S. Prokofiev, but also a musical monument to himself. The textual presentation of the third movement is reminiscent of the choral. The melodic basis of the sonata finale is a set of intonations that are associated with spiritual singing of the Orthodox tradition. The main theme is exhibited in piano solo and has a mournful character, almost completely surreal. Conclusions. F. Poulenc’s Oboe and Piano Sonata is a three-movement cycle that has a genre and psychological program, as evidenced by the names of the movements. None of them uses the sonata form itself. All movements have a threesectionreprise structure. This, along with the program, points to the influence of suite logic, which fits into the tendency for the genre to be renewed in the 20th century, including combining the sonata genre with others. Working with different genre models and their hybrids is also a reflection of the neoclassical trends of 20th-century music that have always been inherent in F. Poulenc’s work. Signs of influence of Russian composers – S. Prokofiev, I. Stravinsky, M. Mussorgsky – are manifested not only at the level of thematicism, quotations, intonational allusions, types of texture presentation, but also at the level of dramaturgy. Thus, the interaction of lyrical and grotesque musical images in the second part is reminiscent of the conflict of love and enmity in S. Prokofiev’s ballet “Romeo and Juliet”.

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 scientific and technological progress resulted into transformation of time and space perception in European cultural consciousness, with the music being not conceived as a form of art beyond their limits. (Herasimova-Persydska, 2012a). The means of space-temporal relations objectification is a system of interrelated parameters of a musical composition, covering form, theme, meter and rhythm, composition, music dramaturgy, orchestration with one of the leading functions. The twentieth century composers, who embodied new ideas about time and space while organizing musical composition, are C. Debussy, the New Vienna School composers and Ihor F. Stravinsky. Theoretical Background. Recent research and publications analysis. The problem of time and space is one of the key problems of Ihor F. Stravinsky’s work. The research of space at the micro level of the composer’s musical language is carried out in B. I. Rysin article. (Rysin, 2012: 164–165). I. Vershynina (1967) does not formulate the problem of time directly, but indirectly considers it, using the concept of “dynamic content”, which is inherent in the intonational structure of the composer’s music language. M. Druskin (1982) devotes separate sections to the problem of time and space: “Movement” (Druskin, 1982: 127–137) and “Space” (Druskin, 1982: 137–154). Summarizing, the researcher (1982) states: “… Stravinsky contrasted throughcomposed processual development to the ratio of planes and volumes, a single convergence place to the variety of relatively independent “horizon levels”, a single-center composition to a multi-center one” (149). Accurate observations of the monograph author lead to the aesthetic, artistic and general stylistic level, emerging, if at all, into music texts composition. Taking these ideas as a basis, we consider it appropriate to transfer them onto orchestral thinking and composer’s orchestral style. Let us add our own considerations about the nature of space. The Objective of the article is to consider the features of space-temporal organization of Ihor F. Stravinsky works at the level of orchestration. The objects of research are Symphony in C (1938–1940) and Symphony in Three Movements (1942–1945). The urgency of the work lies in poor research of the orchestral thinking and the composer’s orchestra style regarding the principles of the music composition space-temporal organization. Methods. To achieve the goal, the following research methods are applied: 1) historical one, which allows to comprehend the selected material in the perspective of the evolution of Ihor F. Stravinsky’s orchestral thinking; 2) theoretical one, which reveals the features of the composer’s ensemble style; 3) cultural one, which allows us to formulate an idea on the connection between culture as a type of thinking and composer’s artistic thinking, which is realized in the peculiarities of the space and temporal organization of the music composition. Results and Discussion. In his early ballets, Ihor F. Stravinsky developed various types of orchestral composition based on a key structural idea – the multifigure, which is realized horizontally and vertically within the orchestral composition, at the micro and macro syntactic levels of the music composition. We shall consider the figure in the orchestral composition as a characteristic, formula, distinguished through sound colour and register, which: 1) is repeated accurately (ostinato) or alternative-variationally, and in this case it may not have intonational characteristic, distinctness, bright expressiveness; 2) sounds unique, and may have an individual intonation and rhythmic pattern. The figures can belong to different layers of the orchestral composition, respectively, to act as carriers of different orchestral functions (melody, melodious figuration, pedal, etc.). Multifigure at the macro-syntactic level of a music composition is realized through frequent change of thematic episodes, accompanied by orchestral composition and sound colour altering. This gives rise to eventfulness, density, contrast of symphonious time. Multifigure at the micro-syntactic level is manifested through horizontal combination of figures, conditioned by intonational structure of the theme. A figure may coincide with the intonation if it represents a melody function. Vertically multifigure is manifested in the combination of figures in different layers of composition. They interact on the principle of rhythmic (and melodic) complementarity. This forms a particularly sophisticated space where all the elements interact, having their own unique sound colour, rhythmic, compositional patterns. The multifigure concept is of a double origin. The first source is culture, as a type of thinking. Ihor F. Stravinsky was one of the first composers who, at the level of artistic thinking, became aware of the complex intricacy of the universe and transformed it into orchestral works sound materials. The second source is the aesthetics of the stage (theatrical) space and the stage movements (gesture). Thus, we believe that in Ihor F. Stravinsky’s ballets scores of Russian period, a special orchestra style was developed, with the technique to be used in the symphonies. Conclusions. The analysis of Ihor F. Stravinsky’s Russian ballets and two symphonies scores showed that the orchestral style, invented by the composer in his early works, was based on the multifigure principle, embodying the idea of time and space in the world building, which was radically changed at the beginning of the century. The author formed an idea that the connection between orchestration, composer’s thinking and culture, as a certain type of thinking, needs further elaboration taking other Ihor F. Stravinsky’s works, as well as of the composers who made a breakthrough in orchestral style in the first half of the twentieth century.

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 तत्सदृश रूपधारण गरी अन्यान्य भौतिक उपकरण र कलारूपहरूको समन्वयमा नाट्यमर्मलाई अभिनय कलामा रूपायन गरी श्रव्यदृश्य परिणति प्रदान गर्छन् । यस अवस्थामा रङ्गमञ्च नाटककारको सृजनकर्म, नाट्यमर्म र रङ्गकर्मीका रङ्गकर्मलाई सार्थकता प्रदान गर्ने एक मात्र आधारशिला रङ्गमञ्च बन्छ । त्यसैले रङ्गमञ्च भत्रु मानवरहित भौतिक संसार नभई रङ्गरमाइलो गर्न बनाइएको भौतिक संसारका विविध रूप, अवस्था र कलाकर्मीका रङ्गकर्मको समष्टि हो । यो रङ्गकर्मस्थल विशेषले समष्टिमा दर्शकलाई आनन्दानुभूति त गराउँछ नै; पूर्वदीप्तिका रूपमा नाट्यपात्रको व्यापक पृष्ठभूमि सङ्केत गरी नाट्यावलोकन गर्ने अभिरुचि पनि जगाइदिन्छ । नाट्यकृतिको रचना रङ्गमञ्चीय प्रस्तुतिका लागि रचिने र रङ्गमञ्चीय प्रस्तुतिमा नै यसले आफ्नो सार्थकता सिद्ध गर्ने हुनाले नाटकको मूल्याङ्कन रङ्गमञ्चीय शिल्पसौन्दर्यसँग जोडेर गरिनुपर्छ । तर अध्ययन परम्परामा विजय मल्लको रङ्गमञ्चशिल्प वैशिष्ट्य निरूपणलाई केन्द्रीय विषय बनाएर विशिष्टीकृत अध्ययन भएको पाइँदैन । यो अध्ययनले यही रिक्तता मेटाउनमा लक्षित छ । त्यसैले यो अध्ययन महत्त्वपूर्ण रहेको छ । प्रस्तुत अध्ययन गुणात्मक प्रकृति रहेको छ । पूर्वीय तथा यथार्थवाद र यथार्थवादोत्तर पाश्चात्य नाट्यमान्यता र पद्धतिबाट प्रेरित र प्रभावित विजय मल्लको नाट्यशिल्पी नूतन प्रयोगधर्मी रीतिबाट गतिशील भएको र उनको रङ्गमञ्चशिल्पको मूल्याङ्कन कुनै खास नाट्यमान्यता र शिल्पपद्धतिबाट हुन नसक्ने भएकाले पूर्वीय तथा यथार्थवाद तथा याथार्थवादोत्तर प्रयोगधर्मी नाट्यमान्यताको समन्वयबाट तथ्यहरूको विश्लेषणका लागि सैद्धान्तिक अवधारणा तयार परिएको छ । सोही ढाँचाअनुसार तथ्यको वर्णन तथा विश्लेषण गरिएको छ । रचनात्मक स्तरमा पहाड चिच्याइरहेछ र भोलि के हुन्छ ? नाट्यकृतिमा उच्च प्रयुक्तिको प्रयोगधर्मी शिल्प अवलम्बन गरिकोले यी दुई नाटकको रङ्गमञ्चशिल्प नाटकीय गुणसम्पदाले समृद्ध हुँदाहुँदै पनि उच्च प्रयोगधर्मी जटिलतातर्फ उन्मुख रहेको छ भने बाँकी नाटकका रङ्गमञ्चहरू सरल, सहज, समस्त नाटकीय गुणविशेषताले समृद्ध छन् । रचनात्मक स्तरमा सृजित हुने रङ्गमञ्चशिल्प पनि नाटकीय गुणविशेषताले समृद्ध हुने देखिन्छ र सबै नाट्यकृति रङ्गमञ्चीय प्रस्तुतिप्रदर्शनका दृष्टिले अभिनेय र दर्शकको संवोगात्मक जीवनलाई उद्दीप्त पार्न समर्थ देखिन्छन् भत्रे यस अध्ययनको निष्कर्ष हो । {The presented article is focused on the study of stagecraft of Vijay Malla's play. The characteristic of stagecraft is through the direct observation of the form and condition of the stage performance of the play, but the basis of all the forms and conditions of the stage performance is drama. With the aim of providing an audio-visual result to the drama itself, the stage is prepared in a representative or symbolic manner of the place, time and situation where the action of the character is the foundation stone.When taking the play to the stage performance, the actors study the external form and condition of the character through the study of the script, and in the coordination of other physical devices and art forms, they transform the drama into an acting art and give an audio-visual result. In this situation, the stage becomes the only cornerstone that gives meaning to the creativity of the dramatist, the drama and the performance of the artists.Therefore, Rangamancha Bhatru is not a physical world devoid of human beings, but a collection of various forms, conditions, and artistic actions of the physical world made to be colorful. This special venue not only brings joy to the audience as a whole; It also awakens the interest to observe the drama by indicating the broad background of the character as a prelude.Since the composition of the play is composed for the stage performance and it proves its worth in the stage performance, the evaluation of the play should be done in connection with the artistic beauty of the stage. But in the study tradition, it is not found that there has been a specialized study by making the representation of Vijaya Malla's color and theater characteristics as a central topic. This study aims to fill this gap.Therefore, this study is important. The present study is qualitative in nature.Inspired and influenced by eastern and realism and post-realism western theatrical values ​​and methods, Vijay Malla's dramaturgy is moving in a new experimental way and his stagecraft cannot be evaluated by any specific theatrical values ​​and craft methods, so a theoretical concept has been prepared for the analysis of the facts through the coordination of eastern and realism and post-realistic experimental theatrical values.According to the same format, the facts have been described and analyzed. On a creative level, the mountain is screaming and what will happen tomorrow? Due to the adoption of highly applied practical art in the drama, the stage art of these two plays is rich in dramatic qualities, but is oriented towards high practical complexity, while the rest of the plays are simple, easy, and rich in all dramatic qualities.Theater art that is created at a creative level seems to be enriched with dramatic qualities and all plays are capable of stimulating the emotional life of the actors and the audience from the point of view of theatrical performance, according to the conclusion of this study.}

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 emotions”. It will regulate, thanks to the appropriate text remarks, the general emotional state (thence, the techniques of articulation too) of all performers in certain time periods, which will contribute to the unification of intentions members of the ensemble. Recent research and publications. A number of scientific works were analyzed in the following areas: the specificity of the expression of emotions in musical art (Woody, 2000, 2003, 2010; Juslin, Laukka, 2004; Phelps, 2004; Frantz, 2023); the Geneva Emotional Music Scale and their followers (Zentner, 2008; Lykartsis, 2013; Coutinho, 2017; Chełkowska-Zacharewicz, 2021); the field of acting (Konijn, 2000; Desiatnik, 2020; Yakubovskaya, 2014); the emotional component in ensemble performance (Palamar, 2013; Efremova., 2022); the theory of communication in art (Juslin, 1997; Zlotnyk, 2019; Nikolaievska, 2021). The analyzed works provide convincing results of research experiments related to the manifestation of emotions in music; despite this, the questions of managing the performer’s emotional scale, especially in ensemble music, remains open. Objectives, methods, and novelty of the research. The purpose of the study is to substantiate the concept of “score of emotions” as one of the new tools of the interpretive strategy in the performance of ensemble music. The article is the first attempt to introduce this concept into the rehearsal process of ensemble performers. Based of analyzed studies, a list of special terms was developed, adapted for the performer as a translator of emotional states lied in music. The study uses such methods as thematic analysis of scientific sources, qualitative analysis and generalization of experimental data; performance, interpretive, communicative types of analysis to consider the coordination of the ensemble partners’ actions at the rehearsal process and their communication with listeners; selection and modelling for adapting the results of previous scientific experiments; a systematic method determining the place of the “score of emotions” in the interpretive strategy of a work as a holistic system. Research results and conclusion. Verbalization of emotional nuances in a piece of music gives the performer a certain understanding of how to adjust his own body to interact with the instrument in order to get the necessary coloring of the sound. А list of emotions, that adapted specifically to the needs of the performer, is offered. 1. Tenderness (kindness, softness, dreaminess, love, delicacy, yearning, caressing, seductiveness). 2. Nostalgia (melancholy, sentimentality, emotionality, sensuality).3. Sadness (sorrow, tearfulness, upset, depression, mourning). 4. Transcendence (reverence, mysticism, sense of spirituality, enchantment, inspiration). 5. Tranquility (relaxation, calmness, meditativeness, serenity, reassurance, boredom, indifference). 6. Joy (radiance, triumph, satisfaction, liveliness, excitement, danceability). 7. Energy (exaltation, ardor, heroism, pride, determination, strength, passion, enthusiasm, aggressiveness). 8. Tension (anxiety, excitement, impatience, irritability, nervousness, rebelliousness). 9. Intellectualism (absence of emotions, pure logic). The score of emotions is a sequentially (phrase-by-phrase) written plan for the translation of emotions and emotional states in a musical piece. The pros and cons of introducing the “score of emotions” into practice are presented. Pros: 1. Mastery of the basics of emotional intelligence, which includes the ability to recognize emotions, the ability to manage them, at the right moment to cause the necessary or get rid of a negative emotion, transforming it to one’s advantage. 2. Stage excitement is significantly reduced due to a change in attitude towards the performance process. When thinking about specific emotional tasks, there is no time left to reflect and react emotionally to external stimuli. 3. A higher level of ensemble unity is achieved, which improves the quality of performance. 4. Since emotions in the process of their repeated repetition during the rehearsal stage of work on the piece are well remembered precisely at the physical level, then, having studied the piece qualitatively once, in the future these feelings are firmly preserved for many years. Cons: 1. The need to spend a lot of time getting to know yourself and understanding the structure of emotions. 2. To write an emotional score in each specific piece is a resource-consuming activity, and the human brain tends to view this type of work as additional and optional. 3. A high-quality result in work on a piece using a score of emotions is possible only if all members of the ensemble are involved. The “score of emotions” is not a closed system sufficient for the construction of an interpretive strategy. This is only an auxiliary tool capable of influencing the improvement of the quality of performance. It is obvious that for full-fledged work on the artistic image and its dramaturgy, the score of emotions must be supported by analogies, associations, references, etc.

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 Americans not only from European traditionalists, but also from modernists. Objectives. The purpose of the paper is to determine peculiarities of implementation of innovative ideas in J. Cage’s cycle "The Perilous Night" for prepared piano. Methods. The study uses a comprehensive approach with the application of intonational, semantic, structural and functional methods for analyzing musical text. Results. The most famous and infl uential fi gure in American music of the last century was John Cage (1912–1992), whose name became synonymous with everything most epic and radical in music. It is diffi cult to characterize this person only as a composer, since the range of his interests was extremely wide: he was also a writer, philosopher, inventor, performer, lecturer, organizer of performances, etc. The most famous invention of J. Cage turned out to be a "prepared piano". This instrument refl ects the composer’s inclination towards percussions, that is, the active engagement of noises as the main musical material and thirst for experiments. A more mature example of putting J. Cage’s innovative ideas in life is his suite "The Perilous Night", composed in 1944. It was this piece which became the fi rst large-scale opus for prepared piano, written not for accompaniment, but as an independent artistic concept. This opus is a unique example where the author, who actively rejected the idea of expressing feelings through music, speaks with us in the language of emotions. "The Perilous night", as well as other works for prepared piano, is designed in the technique which M. Pereverzeva calls "sononant modality". This name indicates the combination of two approaches – a coloristic and a structural one. The composer achieves organic in this alliance by creating for each opus a certain series made up not of traditional musical sounds, but of noises, overtones and other colorful sonorities. So, J. Cage seems to play a game with the performer, creating a certain puzzle that must be decrypted in the process of preparing for the performance. The key to it is the so-called "preparation chart ", which always precedes the musical text and contains the following mandatory columns: 1. a sound written in notes; 2. material necessary for preparation, 3. strings, between which it must be put (from left to right); 4. distance of material placement, calculated from the damper (in inches). The expanded chart of " The Perilous night" is visually divided into two sections, since each of these elements is duplicated; so, on the left side we fi nd mainly soft and wooden objects (foam rubber, felt, bamboo wedge), and on the right side there are metal things (screws and bolts with or without a nut). A full "tone row" appears only in the chart and can be used when talking about the cycle as a whole. In each of the six pieces, the composer operates a certain set of sounds, which of course belong to it, but they are employed extremely selectively, depending on specifi c artistic tasks. Thus, all numbers receive their unique combination of voices that form a "microtone row" of miniatures. The number of sonants in it varies from fi ve to eighteen and does not depend on the size of the piece. In the cycle, there is a multilevel relationship between its parts, which, on the one hand, coloristically and texture-rhythmically are in contrast with each other, ensuring contraposition of states and diversity of colours, and, on the other hand, make internal connections that provide the indivisibility and logic of the cyclic composition. No less individually J. Cage interprets the principle of applying certain numerical proportions in the process of developing a musical composition. Basing on the combination of Eastern trends, primarily Indian talas and ragas, and Western music, he formed the basis of the so-called "rhythmic pattern" of the composer. In all six parts of "The Perilous Night" you can trace the effect of numerical proportions at different levels of the pattern. One of them is the "square root principle", which, in particular, determines the logic of the composition of the third piece. J. Cage uses two bar lines to seperate twelve sections of twelve bars, that is, 12 to the 2nd power. The fi rst four sections are rich in sound events, they feature different texture techniques and many tone colours in all sorts of combinations. The basic principle of development is the variation of primary elements, but no section repeats in exactly the same way. Another picture is observed in the last eight bars. Repetition here is used not at the level of elements, but at the level of sections. The fi fth section is exactly equal to the eighth, and the sixth – to the seventh, ninth and eleventh ones. Visually, this is accentuated by the traditional mark of reprise, which of course is compulsory otherwise the form is distorted. It seems that here J. Cage looks for the end of the piece, and eventually focues on the last four bars of the sixth (seventh, ninth and eleventh) sections, which become the tenth and twelfth sections respectively, and gradually fade in space. Conclusions. J. Cage’s suite "The Perilous Night" occupies an important place in his creative work. This is his fi rst large-scale work for prepared piano, which does not depend on a dance, as it has a unique dramaturgy based on refl ection of the emotional state of a person. At the same time, the cycle harmoniously combines principles of sononant modality and numerical series technique, which are typical for the composer.

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 complicated by the appearance of a new, “performance” trinity unit of vocal and two instrumental parts, which requires especially high-quality ensemble, and therefore a special study of algorithms for its achievement, because the teacher from the concertmaster class has to be a kind of director in coordinating all the layers of the musical texture of such a poly-timbre ensemble. Objectives, methods, and novelty of the research. The purpose of this article is to designate a certain algorithm for the interpretation of a chamber vocal-instrumental ensemble in the concertmaster class as a poly-timbre structure represented by the performance trinity of vocal and instrumental parts. Until now, the interpretative issues of a musical and poetic work have not yet been thoroughly considered in scientific publications under such angle. Imagery and dramatic, intonation, timbre and textural, structural and functional, and performance analysis of the musical and poetic text of a number of chamber vocal compositions of different times and styles (by J. Brahms, V. Barvynsky, V. Sylvestrov), carried out in the study, reveals the specifics of the formimg the ensemble vocal and instrumental texture of works as an artistic integrity. Research results and conclusion. Given the specifics of vocal and instrumental compositions with the involvement of an additional string or wind instrument in the piano accompaniment, we state the advisability of using a certain algorithm for learning them in the concertmaster class. First, it is an in-depth analysis of the poetic original source of the work, if necessary, its complete translation from a foreign language, in order to reveal its leading idea and circle of images. Secondly, it is necessary to determine the main factors influencing the style and quality of the performance of the piece, namely: – the type of relationship between Words and Music, as well as the syntactic features of the verbal text, which determine the character of vocal and instrumental intonation; – genre orientation of the composition; – the functions of the instruments in the ensemble, according to the figurative dramaturgy and structure of the composition, both purely textural (solo, accompaniment, subvoice), and figurative-semantic (“Author’s voice”, “adding”, “finishing” of the vocal part, “leit-timbre”, etc.). Therefore, the poly-timbre quality of the accompaniment of the vocal part becomes an important “starting point” of the interpretive work on the vocal piece in the class of concertmaster skill. The performance “trinity unit” obliges to a particularly coordinated ensemble, in particular, between the instrumental parts, when they together realize the artistic idea of the vocal work as the embodiment of the “correlation of the author’s systems (Poet – Composer)” (Buchok, 2022: 44). Regarding the latter, according to our observation, the considered type of chamber vocal instrumental ensemble is connected with the involvement of poetic sources with special semantics – those that appeal to images and ideas of a “higher plane”, are aimed at spiritual contemplation, or convey personal “movements of the soul”, the adequate perception of which is impossible outside the context (in the examined compositions by J. Brahms, V. Barvinsky and V. Sylvestrov – spiritual and religious ones), which implies the presence of poly-semantic figurative structures in such works. So, the use by composers of the timbre of an additional solo instrument in chamber vocal compositions can be connected with the artistic embodiment of a “higher principle”: the inclusion of a segment of “pure” (instrumental) music best conveys the sublimity and spiritual pathos of the images of the poetic Word, reveals its semantic connotations, “personifying” the higher ideological level of the work or the actual “voice” of the Author (Poet – Composer).

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 creativity encourages researchers to study the principles of artistic thinking, inter-style communication, and virtual creative dialogue between the authors of the original and the version at all levels of musical content and form using the samples of transcriptions. The example of such approach is the given research, which studies the mechanisms of musical interpretation creation in the genres transcription and arrangement in aspect of the contemporary composing and performing practices. The object of the study is the creativity by a bright representative of the Kharkiv school of the playing on folk instruments, Andrii Strilets, the subject of consideration in this article are his orchestra transcriptions-arrangements. The purpose of the research is to determine the principles of interpretation and inter-style dialogue in the genre of transcription on the example of the musical piece “Jazz-slide” by M. Tovpeco for two accordions in the arrangement by A. Strilets. For the first time in musicology this composition becomes an object for the theoretical analysis in aspect of the artistic interpretation and inter-style dialogue in genre of transcription-arrangement. This determines the relevance and scientific novelty of the study. For the first time also, the research is focused on the multifaceted creative activity of the talented Kharkiv musician A. Strilets, which combines the various directions – composition, conducting, bayan performance and pedagogy. Results of the study. The list of the works by A. Strilets includes dozens of positions, in particular, the orchestral opuses – about 40, the vocal pieces – more than 40, there are also the dance music, vocal-choreographic compositions and others. Composer prepared for publication the author’s collection “Concert works for bayan”, which will be a musical presentation of his work. Pedagogical work of the musician is successfully combined with the performing activity. A. Strilets is a talented accordion / bayan performer (the winner of all-Ukrainian and international competitions, among them, the prestigious international competition “Vogtland Music Days” in Klingenthal, Germany; participant of tours as a bayan player-performer in Belgium, Germany, Poland, Ukraine) and conductor. He worked as a conductor at the Kharkiv City Theater of Folk Music “Oberegi”; he made a significant contribution to the creation of the “Slobozhanskii Big Academic Song and Dance Ensemble” (2011), which he conducts nowadays, and also acts as an author and arranger of a significant part of the musical repertoire of this ensemble. Being the head of the folk instruments orchestra, musician directs his actions, first of all, to improve the performing level of the musicians, to expand the concert repertoire and the genre diversity of the performed compositions, to change and complete the instrumental compositions. The study also highlights several signs of the pedagogy of A. Strilets. As a teacher, he encourages in his class the independent thinking of the performer and the searching of a reasonable interpretation, provides the information about stylistic features of works for fully disclosing of its content, he takes into account the analysis of their dramaturgy and form, carefully relates to the reproduction of author’s remarks, aims from the musicians the task of the most accurate composer’s intention disclosure. These pedagogical principles project onto the compositional features of A. Strilets’ works, which are clearly demonstrated in sphere of his arranger’s work. The study specifies a number of basic composer principles and methods used by A. Strilets in the transcription-arrangement of “Jazz Slide”. 1. First of all, the arranger updates the timbre-texture complex of the original, redistributing certain content and form-building components in the musical “space” and “time”, giving them new configurations, which leads to strengthening or, in opposite, leveling (down to rotation) of their original dramatic functions – general and minor, solo and accompanying, monological and dialogical, ensemble and orchestral, melodic, harmonic, rhythmic and others. 2. The sound-texture aspect demonstrates both smallest and systemic changes of musical and expressive complex of the original – from the separate elements to their cumulative action, which contributes to the genre-style qualities transformation of the work, strengthening the through development in it, up to the presence of signs of symphonization. 3. Hence, the genre concept of the work is updated, and it leads to the emergence of a new genre quality – “concert-ness” – and to the consolidation of the concert status of the work (which becomes similar to a concert for two accordions / bayans with an orchestra). The quality of “concert” is also achieved due to the growing role of soloists, in particular, the strengthening of solo replicas in the orchestra (separation of elements of the original melodic themes and distribution them to orchestral groups), which leads to the polyphonization of the musical facture, emphasizing (new coloring) some features of the melodic lines of the soloists and like other. 4. At the level of harmony, on the one hand, the emphasis of its original content, on the other hand, the search of its melodic potential is observed. 5. The rhythmic parameter of sound-facture complex contributes to the enhancement of genre-style semantics of the original source, taking into account its jazz “filling”. 6. Comparative analysis of the original and version reveals signs of a method of composer interpretation that involves a creative component in arranging, supplementing, and rethinking the content of the original. Conclusion. In course of studying it was found that the arranger, at the preserving of the structure of the original piece – a contrast-composite form, updates the procession-dynamic and dramatic sides of it, primarily due to the action of the timbre-texture complex as the key interpretative factor in creating of the orchestral version of the original. The prospect of the research. The considered issues require, of course, the further research – both from the point of view of the artistic significance of genres, arrangement and transcription, in particular, for orchestras and ensembles of folk instruments, and in the aspect of the action of mechanisms of artistic interpretation and the features of the transcription process, which naturally combines composer and performing arts. The work of the talented Kharkiv musician Andrii Strilets who is one of the most prominent representatives of the Kharkiv school of folk instruments, deserves a separate study.

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 or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.

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 orientations of the artist with the aim of prolonging “historical memory” in the most recent history of music. In this sense, Slobidska Ukraine has historical, stylistic and genre priorities fixed in the folk song tradition, which has never been interrupted (even during the Soviet statehood). This is evidenced by the funds of folklore laboratories of higher educational establishments (in particular, Kharkiv I. P. Kotlyarevsky National University of Arts, and the House of Folk Art). The heart of the interaction of the folk song tradition and academic music is Slobozhanshchyna singing, which is a vast genre-stylistic system. Therefore, musicologists should generalize the conceptual foundations of the creative work of those artists who continue the Slobozhanshchyna tradition. Yuriy Alzhniev occupies an honourable place among them. His resent symphony belongs to the “Slobozhanshchyna text”. The latter is a term of musical regional science, which means a collective product of folk art continuing its existence in the creative work of modern composers of Eastern Ukraine. Thus, we are talking about the actualization of Slobozhanshchyna folklore in the symphonic genre. Despite precise instructions regarding which folkloric sources (chants, genres) the composer used to build the original concept of the Symphony (Osadcha, 2019; Kliuka, 2023), in our opinion, the folkloric layer of his dramaturgy still remained undervalued by musicologists. The specifics of Yu. Alzhniev’s composition determined our research methods: the historiographic one is addressed to the genres of the folk song tradition; the intonation one allows to highlight the linguistic and stylistic polylogue of the folk song and the artist’s symphonic thinking; and the comparative one reveals the kinship and differences of folklore sources in the context of their composer interpretation. Research results. Folkloric images in the Song Symphony have a poetic-verbal and purely musical origin. So, in the examples of Ukrainian calendar-ritual poetry, eagles plow the land and carry water. In the Slobozhanshchyna region version of the folk ballad used by the composer the eagle’s wings are a symbol of spiritual flight, heavenly destination, and the strength of the horse’s legs is a symbol of life forces, endurance, and earthly way.The central in the composition ones are: the folkloric motives of fraternity in the journeys in search of happiness, a mandate to take care of small children; the symbol of Milky Way as a God’s Path, the heavenly route of birds and human souls. The latter symbol is revealed by one of the brightest genres of the folk song tradition of Sloboda Ukraine – the chumak songs, unique in the world folklore the songs of the strangers in their journeys. Among many, the composer chosen the song “Hey, our chumaks were on their way” for the key image of the third (choral) movement of the Symphony. The symbolism of the folkloric archetype of the road got a double code: the road as the destiny of every Ukrainian; the Milky Way (called “Chumak Way” in the Ukrainian folklore) as a symbol of national culture, which connects the historical path of Ukraine and the personal destiny of the Cultural Hero of the Symphony to Truth, Divine Light. It is no accident that the author refers to the song “Oh, woe to that seagull”, which became a symbol of the historical fate of Ukraine, the search by folk singers for nationality, self-identity. This song is consonant with chumak ones and folk ballads based on the motif of the care of little children while the father is looking for his fortune in a foreign land. Expressive singing contains a formula that in the Symphony performs the function of the author’s monogram, combining the thematic structure of all the movements of the Symphony. The values of traditional culture are a source of Yurii Alzhniev’s creativity. The idea of consonance, on which the Symphony’s conception based, means the special state of a human in unity with the nature. The musical folk intonation of “sub-fourth” (ascending fourth + descending second) serves as the “code” to understanding “consonance”, connection of the Ancient and Present. The composer widely uses semitone-free scales, notes the power of their influence in folk songs. For him, it is a sign of inviolability, globality, infinity of the unknown, “invisible world” (according to H. Skovoroda). The semitone-free movement of the rising chorus of the ballad (“And he argued, competed...”) gives a sense of the immensity of the space in which the heroes of folk poetry exist, as the personification of the heavenly and earthly purpose of life. The iconic nature of the genre, determined by its functionality, is consciously modelled by the composer in order to create a nationally defined musical and linguistic picture of the world. Conclusion. Yu. Alzhniev’s Song Symphony musical-philosophical conception gravitates to that spiritual tradition, in which a human is considered as the embodiment of the nation, and the art is considered as the platform for the synthesis of folkloric archetypes and individual composer creativity. The indicated signs of the folk song tradition, crystallized in the thousand-year evolutional move by steps of typifying (intonation-genre and figurative), with their natural energy, which awakes the subconscious, nourish the semantics of the author’s language. The complex of intonation signs operating at the level of genetic memory represents the archetype of “primary intonation” for the composer.

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, Jin Fuzai and Le Zufeng). Given the large body of compositions for the flute, the identification and study of pastoral semantics within a specific instrument becomes a relevant issue. Objectives, methods, and novelty of the research. The purpose of the study is to identify a stable and mobile genre-style “pastoral complex” in the flute compositions of European and Chinese composers of the 20th– 21st centuries. The methods of researching are based on the principles of analytical interpretology (Nikolaievska, 2020) and the materials of the Department of Interpretology and Analysis of Music at Kharkiv I. P. Kotlyarevsky National University of Arts (accenting, in particular, the components of performance thesaurus of modern music science, such as the concepts of performance formation of sound and sonorous image of the instrument, compositional strategy, contonation); also systematic approach and comparative analysis have been involved. The genre method is appropriate for researching the genre system of flute music of the 20th–21st centuries, and individually the pastoral genre, the stylistic one – when referring to specific composer solutions for the embodiment of pastoral themes. The novelty of the study is connected with the development of a comparative analysis of the compositions of pastoral semantics, the definition of a stable and mobile pastoral complex in the compositions for the flute of the 20th–21st centuries. Research results and conclusion. In the continuation of the research of pastoral in musical art, our own definition has been proposed. Pastoral in music is: a meta-genre of musical creativity expressing the close connection of earthly and heavenly principles; composition reflecting a certain theme (natural, religious, mythological, symbolic). Pastoralism as a quality of a musical text is: a complex of means of expression related to the reflection of idyllic motifs; the embodiment of a conscious compositional strategy through contonation (joint listening of space) aimed at creating a specific sound image. On the basis of the sound image model of 4 levels – acoustic, intonation, compositional-dramaturgic, extra-musical (Nikolaievska, 2020) – stable and mobile components of the pastoral sound image of the instrument have been determined. The tendency of the composer’s creativity has been formulated, which primarily reflects the use of a fairly specific program quality, which, of course, by the middle of the 20th century significantly expands its boundaries. If at the beginning of the century the flute was often used to solve the pictorial and image-creating and sonographic-coloristic tasks, achieving unusual transparency and brightness, then starting from the second half of the 20th century, the perception of the timbre of the instrument by composers completely changes. Undoubtedly, all of the above required the enormous performers’ resources. It is shown that in the compositions by Chinese composers (both original and transcriptions), the flute mostly obeys the pastoral complex, combines archaic halftone-free scales and chromatics. The instrument is mostly associated with the theme of nature, images of mountains, rivers, and the sun. This is reflected even in the names. If in the European tradition the compositions are often called simply “Pastoral” (that is, the genre name implies a full complex of recognizable musical expressiveness, as well as a reference to mythological images that appeals to pastoralism), then there are almost no “simple” pastoral names for the compositions by Chinese composers, all of them are more poetic, pictorial, picturesque, moody, with many symbols and themes from folk songs, iconic geographical names (for example, Tien Shan, Pamir, etc.). In the European tradition, pastoralism permeates almost all genres (except the flute concerto) – miniatures, sonata, concert piece, suite; in the Chinese one – mostly miniatures (flute solo, with the piano, in ensemble, arrangement of solo singing). In the European tradition, mono-timbre quality is indicated, in the Chinese one – poly-timbre quality (there are many allusions to timbres of Chinese flute varieties – dizi, hulusi, sui, yue, etc.). Conclusion. Summarizing the features of pastoral sound image of the flute in the creative work of European and Chinese composers, it has been noted that in the analysed examples, the instrument is interpreted mainly in the aspect of pastoralism, the stable components of the stylistics of which are: in the music of the European tradition – the acoustic level; in the music of the Chinese tradition, there is a combination of archaic anhemitonicity and chromaticism. The given examples prove that unlike the European genre-style paradigm of the instrument (which contains a variety of semantic and sound-image manifestations), in the music of Chinese composers the flute remains mostly primarily an instrument related to the theme of nature (images of mountains, rivers, the sun, the east). The most stable complex (intonation thesaurus) is a high register, intonations-crosstalk, sound assimilations, fast passages of various directions, a large number of ornaments, the predominant meter (4/4, 6/8), tonalities (modes), etc. The compositional and dramaturgical and extra-musical levels have been designated as mobile zones of the pastoral complex. In the European tradition, the pastoral is limited to genre forms (there are sonatas, miniatures, and concert pieces). In the Chinese musical culture, the influence of other types of art (in particular, poetry) is more tangible and often concrete, which affects the performing reproduction of pastoral semantics.

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 are those long lines of rise, growth and pathetic climax, which Rachmaninov’s romances abound with. The authors show that he did not miss the experience of the senior masters of the “St. Petersburg school” with their careful, attentive attitude to the poetic word. Rachmaninov, with some rare exceptions, does not allow arbitrary permutations of words or repetitions that violate the form of the verse, his vocal declamation, as a rule, is accurate and distinct. In this regard, he was quite at the level of his time – the era of the highest, most refined poetic culture. The practical significance of the research is determined by the fact that the study of the heritage of the art of Rachmaninov will be important for the general study of the flow of musical culture of the period under study.

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 modern Ukrainian dramaturgy. The intensification of the appeal of theatrical directors to the works of modern Ukrainian dramaturgy in connection with the strengthening of the national-patriotic movement during the Revolution of Dignity and the beginning of the Russian-Ukrainian war (from 2014 to the present day) is substantiated. Based on a comparative analysis, common and distinctive characteristics of directorial approaches to the production of modern Ukrainian plays on the stages of dramatic and independent theatres (documentary theatre) were identified. The specifics of the solution of the stage space, scenographic design and the use of multimedia technologies in the context of the features of the productions of modern works were analysed. Conclusions. The study revealed that modern Ukrainian dramaturgy is open to various directorial interpretations. Through the characterisation of the work, the understanding of the narrative, the visualisation of the plot development and the general direction of the stage action, the author's directorial understanding and the main professional settings of the representatives of modern Ukrainian theatre are noticeably manifested. Despite the individuality of the director's handwriting, the specificity of the author's interpretation and the uniqueness of the director's concepts, common production aspects are: minimisation of scenographic design, the use of multimedia technologies (video projections), recourse to conventional theatre techniques, the disclosure of the truth and frankness of the author's expression through original imagery. Characteristic for the productions of modern dramaturgy is the minimisation of scenographic design, in some cases playing on the concept of empty space by P. Brook, while at the same time shifting the emphasis to the representation of all aspects of the intimate and psychological time-space of the characters, the enhancement of their memories and personal experiences by the mise-en-scene drawing to the level of sacralisation; the ascetic world of objects in the performances is given special weight, bringing it to the level of a sign or symbol.

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 discursive metaphorism, respectively an apparent aesthetic gratuity, there is a political thesis that can be reinterpreted, reframed by both target audiences: Eastern and Western. Thus, the playwright built at the center and imported by the Romanian periphery accumulates symbolic capital from both territories, defined as a successful as a transnational author.

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 turned to Rock (Someone in Gray). Therefore, the basis of the drama "Life of Man" was based on the conflict "Man and Rock", embodied in adequate artistic forms. Thus, the author actively used the semantic potential even more meaningful than in the earlier plays, chronotope, intertextual and auto-intertextual mythosymbolic motifs, as well as the metatextual and artistic possibilities of the frame complex and decoupage, for the formation of the non-mythological level of drama. Describing the drama "Life of Man", the writer called the painting himself, the Parsley (Lubok) theater and the ancient theater with his choir as such forms, which "explained" to the viewer a particular scene. The study of L. Andreev’s drama’s chronotop in various periods of his work, along with variability, demonstrates his apparent conceptual uniformity. The results of our research refute the conception, that approves the evolutional type of Andreev’s dramaturgy from early realistic to “conventional” symbolico-expressionistic drams and drams ‘panpsihe”. Type of the conflict, which lies in its basis, and also all levels of its structure revealed the modernistic nature and isomorphism with Andreev’s prose. Apparently, both in prose, and in dramaturgy of the writer there was no evolution, the accents in the author’s concept only changed and the appropriate art means and image forms merely varied. Already in the first dramas all was put that only came to light, deepened and became more obvious.

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 typical liminal state, and choose the tragic farce, which through comic pathos highlights the problematic points of the social structure, which does not meet the current requirements and destroys the individual . Tragicomedy and tragicfarce genres are studied on the example of the plays of modern Ukrainian playwrights L. Tymoshenko, V. Chensky, Lena Lyagushonkova, and others. The combination of the comic and the tragic is an integral component of the works of all modern playwrights: the «comic» becomes dominant, the basis from which the «tragic» grows, which is transferred to the level of the reader’s consciousness, forming receptive liminality as a state of searches, variability of interpretations, perception of works of complex form. Playwrights embody the characters of the works in an atmosphere of joy, laughter, grotesque comedy, while the tragic pathos is formed by the images of the plays, which create an atmosphere of impending disaster that the characters do not feel. The authors turn traditional images and plots into kitsch, make them a means of critical camp: they deconstruct them in the genre matrix of rituals of transition. The contrast between the comic and the tragic is a feature of the playwrights’ artistic style, which forms the basis of the tragicomic: the authors implement a comic plot that can end in a tragic ending, or turn the tragic into an optimistic one.

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 narrative, often opposite between the appearance of the front stageand the backstage. Amid suspicions of the majority of the Aceh Singkil Muslims and the local Government of the existence of Christians, Interfaith communities at the grassroots level are precisely trying to build harmony and co-existence. I conclude that the consciousness about the similarities of ethnic origins has so far contributed effectivelyto suppressing the conflict between the two religions in Aceh Singkil.
 
 Keywords: Ethnicity, Muslim-Christian Relations, Aceh Singkil

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), musicological analysis (melodic, harmonic, rhythmic, textural, dynamic, timbral and formal), performing analysis (development of recommendations on technical, artistic and stylistic aspects), comparative analysis (comparison with other works), analysis of literary sources and the method of expert evaluation. The scientific novelty of the study lies in the comprehensive analysis of W. A. Mozart’s Piano Trio, taking into account the composer’s annotations in the scores that were disseminated during his lifetime. The research also considers the stylistic characteristics of the composer’s era. Conclusions. The study of Mozart’s piano trios represents a significant step in the development of Ukrainian musical art and contributes to the enhancement of both the rehearsal and educational processes. It fosters a deeper understanding of the great composer’s work, expands knowledge of his musical style, and opens new possibilities for the interpretation and performance of his chamber compositions. Future research prospects include the analysis of interpretative approaches, genre transformations, and their implementation in successful performance practice.

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 professional choreographic art serves as an indisputable factor that contributes to the creation of not only new forms of dance, but also unites progressive people from all over the world and unites society. Conclusions. The art of dance is constantly evolving. Each new generation of ballet masters finds in it features that resonate with their time. Any choreographic work, be it classical ballet or pop dance, must contain elements of national traditional folklore. The boundless, inexhaustible source of traditional folklore material enriches the artist's choreography, provides inexhaustible opportunities to create a truly vivid choreographic work that will be understandable to viewers around the world and bring incredible aesthetic pleasure.

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 in various periods of his work, along with variability, demonstrates his apparent conceptual uniformity. The local framework, where he transfers the action in the play " The dog's walse ", represents only spatial variations of the locuses of early dramas and plays of the second half of the 1900s, the invariant of which can be considered the room where the Life of Man flows in the work of the same name. Furthermore, in the play, aside from the spaceless chronotope offered to the spectator, it is steadily found, often dominating the open "space" chronotope, acquiring the symbolic spatial outlines of petersburg's topos. In this regard, the transformation undergoes an author's interpretation of the mythopoetic motive of the mask, which is an important attribute of the Andreev’s drama art system. Instead of sketchiness and hypertrophied mannequins, mask characters of the "conditional" drama came more deeply, at the level of subtext, grotesque images, in which the writer combines the motive of the mask with the motives of the game, duality, and again appeals to the traditional model of character of his mirrors for his work, which at different angles reflect not only the ideological doctrines and actions of the heroes, but also the state of their deformed consciousness and the psyche. The results of our research refute the conception, that approves the evolutional type of Andreev’s dramaturgy from early realistic to “conventional” symbolico-expressionistic drams and drams ‘panpsihe”. Type of the conflict, which lies in its basis, and also all levels of its structure revealed the modernistic nature and isomorphism with Andreev’s prose. Apparently, both in prose, and in dramaturgy of the writer there was no evolution, the accents in the author’s concept only changed and the appropriate art means and image forms merely varied. Already in the first dramas all was put that only came to light, deepened and became more obvious.

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 Hasilova, Alaviya Babayeva, Nariman Suleymanov, Aziza Ahmadova, Ali Samadov and prose. etc. such talented artists contributed to children's literature with their rich literary thought. Anvar Mammadkhani is also in this rank with his high creative intellect and is one of the writers who have done necessary work in the matter of transmitting ethnocultural culture as a potential. "Qızıl qönçələr", "Buz heykəl", "Baş xiyabanda", "Anamın çırağı", "Sevinc", "O mahnılarda qayıtdı", "Əfsanəvi dağlar" and others. is of exceptional importance in the formation of children at the level of national and moral values. The harsh realities of life and the methods of presentation from folklore, the detail revealed by the textual information have been realized at different levels as a life story in the writer's mind at all times. A. Mammadkhanli's observations, as well as the colorful aspects that he lived and observed in terms of the vicissitudes of the environment and time, the story, story-tale, story-narrative, etc. has become a topic in its context. The internal and inter-situation of situations and its presentation in the context of events and stories with its high creative intelligence have an exceptional function in the formation of children in terms of national and moral values.

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, saame analüüsida ka performatiivsuse esteetika seisukohast olulisi kunstiteose loome- ja tajutingimuste vormilisi ja meelelisi aspekte ning nende toimet sakraalse kunsti sihtide seisukohast.SU M M A R YIn the 21st century Western society has seen an increasing interest in topics related to religion. In this context, the connection between the concept of sacrality in Western culture and freedom of verbal and artistic expression has been reconsidered; the very possibility of so-called sacred art within Western culture has been called into question.Already in the 20th century several theatrical movements in the West have expressed the need to strive for religious (or at least quasi-religious) goals by means of the stage. This can already be seen in the work of the symbolists, but such experiments accelerated and became more forceful under the influence of Antonin Artaud’s visions and under the aegis of intercultural theatre. In all of these different quests one can find common elements: discontent with the discursivity of the theatrical canon, a need for a metaphysical dimension in the theatre, and the belief that channels of perception can be opened through contact with exotic ritual cultures.In his book Sacred Theatre Ralph Yarrow has attempted to define the criteria of sacrality in the theatre, drawing upon William S. Haney’s prior determinations, which emphasizes first, that sacred theatre induces a change of consciousness in which the subject and the object merge; second, the liminality of the intersubjective environment surrounding the experience of the sacred, in which the verbal and the transcendental unite. When describing the influence of the logocentrism of Christian culture on the experience of sacredness, Yarrow draws on the views of Mark C. Taylor, Rudolf Otto, Mircea Eliade and Georges Bataille. All of these thinkers critique the rationalism attributed to monotheistic religion, which gives an important place to Christ as the mediator of God’s transcendental truth, the logos, and sacred scripture, all of which differ from the numinous experience of the mystic. The art of so-called sacred theatre, where, at least according to tradition, the performative mission, dramaturgy, stage design, and public reception are all part of a unified contemplative whole seems to be missing in Western culture. Indeed, this is what several Western stage experimenters have been looking for, and in their search they have looked eastward.New viewpoints with respect to the perception of a work of art were gained in the „performative turn“ of the end of the 20th century; besides the text, proponents of this new direction became interested in the sensory and bodily processes of creativity and reception. Erika Fischer-Lichte and others have conceptualized these processes on a more general level and reflected upon the aesthetics of performativity; insodoing they have pointed to a dualism in the Western aesthetics of performativity, recognizing that there is a contradiction between the referential, semiotic pole of art and its performative dimension. Although the reasons for this split can be sought in the very origins of Western art as well as that of medieval Christian art, relations between theatre and the church differ according to confession; Yarrow’s definitions do not apply to Christianity as a whole. As distinct from the Catholic church, which, occasional polemics notwithstanding, has been a good neighbour to theatre from the medieval period onward, Orthodox theology has been more wary of theatre, or at least regarded the media and goals of theatre as incompatible with the goals of sacred art.Despite this difference of context, the iconographer of Eastern art and the theatre avant-gardist who longs for sacrality in Western logocentric theatre focus on similar mechanisms and processes. With respect to the origin and development of medieval religious art one might generalize that while the centre of Orthodox liturgy is the fellowship of holy communion, in the Western Church a drive toward analysis and interpretation arose alongside the experience of communion. This analytic drive facilitated the development of interpretive scholastics which translated theology by means of formal logic. Also, a dramaturgic aspect began increasingly to differentiate itself from the Mass and holy communion, finding more commonality with theatre as an independent art form. In the Eastern Church, which preserved the theological heritage of the Church Fathers was preserved, the theology of the icon was developed. According to this, sacred art could not be regarded apart from its liturgical context, nor could an independent aesthetic value be attached to it. The platonic roots of Orthodox theology led to the perpetuation of the attitude of the Church Fathers: theatre could endanger the health of the soul or prevent the pursuit of spiritual goals, that is theosis, because the fictional world of theatre blurs truth and human identity, drawing both the performer and the viewer toward affectivity and escapism. However, despite its conservative theology of the icon, which deplored realism and emotionality, the Orthodox church had its own aesthetic of performativity, which in addition to content draws attention to the creative, functional and perceptual prerequisites for sacred art.The theological and aesthetic differences between Catholicism and the Orthodox church are also reflected today in the theologically-inclined reception of works with religious content. For example, based on the lively theological feedback to Mel Gibson’s 2004 film, The Sufferings of Christ one might claim that the judgments of Catholics mostly concern the m e s s a g e of the work, the appropriateness of its content, that is the referential pole; Orthodox theologians rather place more emphasis on the appropriateness of the m e d i u m to theological goals, that is, the performative effect of the work of art. Besides differences in pure artistic representation, it is also worth examining such questions as Catholic and Orthodox interpretations of the Trinity or the teaching of Gregorius Palamas (1296–1359) on divine energies, which were later declared to be heretical. Thus Orthodox liturgical practice seems to contradict many of the stereotypes that eastward-turning seekers of sacred theatre have attributed to Western sacral culture as a whole, overlooking aspects of dynamism that can be found in the Eastern Christian church. This topic has been discussed in several recent accounts of iconography, which examine the performativity of the icon, distinguishing its processes of creation and perception from the Western representation-oriented concept of the picture (eg Bissera V. Pencheva, Adrian Gorea).Granted, one should be careful when drawing parallels between the strictly rule-bound theology of the icon and aesthetics of performativity focused on the sensory aspect of art. However, this article takes the position that what should be emphasized are the differences between Orthodox and Catholic views of art, by means of which one can elucidate the points of departure of the Western quest for sacred theatre and the performative level to which it aspires.

IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists presented as characters in a fictional world, cutting-edge lighting and visuals, extraordinary innovative staging, and the uptake of new technology for special effects can all be linked back to an early form of circus which is sometimes termed illegitimate circus. In the late 18th century and early 19th century, in the age of Romanticism, only two theatres in London, Covent Garden and Drury Lane, plus the summer theatre in the Haymarket, had royal patents allowing them to produce plays or text-based productions, and these were considered legitimate theatres. (These theatres retained this monopoly until the Theatre Regulation Act of 1843; Saxon 301.) Other circuses and theatres such as Astley’s Amphitheatre, which were precluded from performing text-based works by the terms of their licenses, have been termed illegitimate (Moody 1). Perversely, the effect of licensing venues in this way, instead of having the desired effect of enshrining some particular forms of expression and “casting all others beyond the cultural pale,” served instead to help to cultivate a different kind of theatrical landscape, “a theatrical terrain with a new, rich and varied dramatic ecology” (Reed 255). A fundamental change to the theatrical culture of London took place, and pivotal to “that transformation was the emergence of an illegitimate theatrical culture” (Moody 1) with circus at its heart. An innovative and different form of performance, a theatre of the body, featuring spectacle and athleticism emerged, with “a sensuous, spectacular aesthetic largely wordless except for the lyrics of songs” (Bratton 117).This writing sets out to explore some of the strong parallels between the aesthetic that emerged in this early illegitimate circus and the aesthetic of the Montreal-based, multi-billion dollar entertainment empire of Cirque du Soleil. Although it is not fighting against legal restrictions and can in no way be considered illegitimate, the circus of Cirque du Soleil can be seen to be the descendant of the early circus entrepreneurs and their illegitimate aesthetic which arose out of the desire to find ways to continue to attract audiences to their shows in spite of the restrictions of the licenses granted to them. BackgroundCircus has served as an inspiration for many innovatory theatre productions including Peter Brook’s Midsummer Night’s Dream (1970) and Tom Stoppard’s Jumpers (1972) as well as the earlier experiments of Meyerhold, Eisenstein, Mayakovsky and other Soviet directors of the 1920’s (Saxon 299). A. H. Saxon points out, however, that the relationship between circus and theatre is a long-standing one that begins in the late 18th century and the early 19th century, when circus itself was theatre (Saxon 299).Modern circus was founded in London in 1768 by an ex-cavalryman and his wife, Philip and Patty Astley, and consisted of spectacular stunt horse riding taking place in a ring, with acts from traditional fairs such as juggling, acrobatics, clowning and wire-walking inserted to cover the changeovers between riding acts. From the very first shows entry was by paid ticket only and the early history of circus was driven by innovative, risk-taking entrepreneurs such as Philip Astley, who indeed built so many new amphitheatres for his productions that he became known as Amphi-Philip (Jando). After years of legal tussles with the authorities concerning the legal status of this new entertainment, a limited license was finally granted in 1783 for Astley’s Amphitheatre. This license precluded the performing of plays, anything text-based, or anything which had a script that resembled a play. Instead the annual license granted allowed only for “public dancing and music” and “other public entertainments of like kind” (St. Leon 9).Corporeal Dramaturgy and TextIn the face of the ban on scripted text, illegitimate circus turned to the human body and privileged it as a means of dramatic expression. A resultant dramaturgy focusing on the expressive capabilities of the performers’ bodies emerged. “The primacy of rhetoric and the spoken word in legitimate drama gave way […] to a corporeal dramaturgy which privileged the galvanic, affective capacity of the human body as a vehicle of dramatic expression” (Moody 83). Moody proposes that the “iconography of illegitimacy participated in a broader cultural and scientific transformation in which the human body began to be understood as an eloquent compendium of visible signs” (83). Even though the company has the use of text and dramatic dialogue freely available to it, Cirque du Soleil, shares this investment in the bodies of the performers and their “galvanic, affective capacity” (83) to communicate with the audience directly without the use of a scripted text, and this remains a constant between the two forms of circus. Robert Lepage, the director of two Cirque du Soleil shows, KÀ (2004) and more recently Totem (2010), speaking about KÀ in 2004, said, “We wanted it to be an epic story told not with the use of words, but with the universal language of body movement” (Lepage cited in Fink).In accordance with David Graver’s system of classifying performers’ bodies, Cirque du Soleil’s productions most usually present performers’ ‘character bodies’ in which the performers are understood by spectators to be playing fictional roles or characters (Hurley n/p) and this was also the case with illegitimate circus which right from its very beginnings presented its performers within narratives in which the performers are understood to be playing characters. In Cirque du Soleil’s shows, as with illegitimate circus, this presentation of the performers’ character bodies is interspersed with acts “that emphasize the extraordinary training and physical skill of the performers, that is which draw attention to the ‘performer body’ but always within the context of an overall narrative” (Fricker n.p.).Insertion of Vital TextAfter audience feedback, text was eventually added into KÀ (2004) in the form of a pre-recorded prologue inserted to enable people to follow the narrative arc, and in the show Wintuk (2007) there are tales that are sung by Jim Comcoran (Leroux 126). Interestingly early illegitimate circus creators, in their efforts to circumvent the ban on using dramatic dialogue, often inserted text into their performances in similar ways to the methods Cirque du Soleil chose for KÀ and Wintuk. Illegitimate circus included dramatic recitatives accompanied by music to facilitate the following of the storyline (Moody 28) in the same way that Cirque du Soleil inserted a pre-recorded prologue to KÀ to enable audience members to understand the narrative. Performers in illegitimate circus often conveyed essential information to the audience as lyrics of songs (Bratton 117) in the same way that Jim Comcoran does in Wintuk. Dramaturgical StructuresAstley from his very first circus show in 1768 began to set his equestrian stunts within a narrative. Billy Button’s Ride to Brentford (1768), showed a tailor, a novice rider, mounting backwards, losing his belongings and being thrown off the horse when it bucks. The act ends with the tailor being chased around the ring by his horse (Schlicke 161). Early circus innovators, searching for dramaturgy for their shows drew on contemporary warfare, creating vivid physical enactments of contemporary battles. They also created a new dramatic form known as Hippodramas (literally ‘horse dramas’ from hippos the Attic Greek for Horse), a hybridization of melodrama and circus featuring the trick riding skills of the early circus pioneers. The narrative arcs chosen were often archetypal or sourced from well-known contemporary books or poems. As Moody writes, at the heart of many of these shows “lay an archetypal narrative of the villainous usurper finally defeated” (Moody 30).One of the first hippodramas, The Blood Red Knight, opened at Astley’s Amphitheatre in 1810.Presented in dumbshow, and interspersed with grand chivalric processions, the show featured Alphonso’s rescue of his wife Isabella from her imprisonment and forced marriage to the evil knight Sir Rowland and concluded with the spectacular, fiery destruction of the castle and Sir Rowland’s death. (Moody 69)Another later hippodrama, The Spectre Monarch and his Phantom Steed, or the Genii Horseman of the Air (1830) was set in China where the rightful prince was ousted by a Tartar usurper who entered into a pact with the Spectre Monarch and received,a magic ring, by aid of which his unlawful desires were instantly gratified. Virtue, predictably won out in the end, and the discomforted villain, in a final settling of accounts with his dread master was borne off through the air in a car of fire pursued by Daemon Horsemen above THE GREAT WALL OF CHINA. (Saxon 303)Karen Fricker writes of early Cirque du Soleil shows that “while plot is doubtless too strong a word, each of Cirque’s recent shows has a distinct concept or theme, that is urbanity for Saltimbanco; nomadism in Varekai (2002) and humanity’s clownish spirit for Corteo (2005), and tend to follow the same very basic storyline, which is not narrated in words but suggested by the staging that connects the individual acts” (Fricker n/p). Leroux describes the early Cirque du Soleil shows as following a “proverbial and well-worn ‘collective transformation trope’” (Leroux 122) whilst Peta Tait points out that the narrative arc of Cirque du Soleil “ might be summarized as an innocent protagonist, often female, helped by an older identity, seemingly male, to face a challenging journey or search for identity; more generally, old versus young” (Tait 128). However Leroux discerns an increasing interest in narrative devices such as action and plot in Cirque du Soleil’s Las Vegas productions (Leroux 122). Fricker points out that “with KÀ, what Cirque sought – and indeed found in Lepage’s staging – was to push this storytelling tendency further into full-fledged plot and character” (Fricker n/p). Telling a story without words, apart from the inserted prologue, means that the narrative arc of Kà is, however, very simple. A young prince and princess, twins in a mythical Far Eastern kingdom, are separated when a ceremonial occasion is interrupted by an attack by a tribe of enemy warriors. A variety of adventures follow, most involving perilous escapes from bad guys with flaming arrows and fierce-looking body tattoos. After many trials, a happy reunion arrives. (Isherwood)This increasing emphasis on developing a plot and a narrative arc positions Cirque as moving closer in dramaturgical aesthetic to illegitimate circus.Visual TechnologiesTo increase the visual excitement of its shows and compensate for the absence of spoken dialogue, illegitimate circus in the late 18th and early 19th century drew on contemporaneous and emerging visual technologies. Some of the new visual technologies that Astley’s used have been termed pre-cinematic, including the panorama (or diorama as it is sometimes called) and “the phantasmagoria and other visual machines… [which] expanded the means through which an audience could be addressed” (O’Quinn, Governance 312). The panorama or diorama ran in the same way that a film runs in an analogue camera, rolling between vertical rollers on either side of the stage. In Astley’s production The Siege and Storming of Seringapatam (1800) he used another effect almost equivalent to a modern day camera zoom-in by showing scenic back drops which, as they moved through time, progressively moved geographically closer to the battle. This meant that “the increasing enlargement of scale-each successive scene has a smaller geographic space-has a telescopic event. Although the size of the performance space remains constant, the spatial parameters of the spectacle become increasingly magnified” (O’Quinn, Governance 345). In KÀ, Robert Lepage experiments with “cinematographic stage storytelling on a very grand scale” (Fricker n.p.). A KÀ press release (2005) from Cirque du Soleil describes the show “as a cinematic journey of aerial adventure” (Cirque du Soleil). Cirque du Soleil worked with ground-breaking visual technologies in KÀ, developing an interactive projected set. This involves the performers controlling what happens to the projected environment in real time, with the projected scenery responding to their movements. The performers’ movements are tracked by an infra-red sensitive camera above the stage, and by computer software written by Interactive Production Designer Olger Förterer. “In essence, what we have is an intelligent set,” says Förterer. “And everything the audience sees is created by the computer” (Cirque du Soleil).Contemporary Technology Cutting edge technologies, many of which came directly from contemporaneous warfare, were introduced into the illegitimate circus performance space by Astley and his competitors. These included explosions using redfire, a new military explosive that combined “strontia, shellac and chlorate of potash, [which] produced […] spectacular flame effects” (Moody 28). Redfire was used for ‘blow-ups,’ the spectacular explosions often occurring at the end of the performance when the villain’s castle or hideout was destroyed. Cirque du Soleil is also drawing on contemporary military technology for performance projects. Sparked: A Live interaction between Humans and Quadcopters (2014) is a recent short film released by Cirque du Soleil, which features the theatrical use of drones. The new collaboration between Cirque du Soleil, ETH Zurich and Verity Studios uses 10 quadcopters disguised as animated lampshades which take to the air, “carrying out the kinds of complex synchronized dance manoeuvres we usually see from the circus' famed acrobats” (Huffington Post). This shows, as with early illegitimate circus, the quick theatrical uptake of contemporary technology originally developed for use in warfare.Innovative StagingArrighi writes that the performance space that Astley developed was a “completely new theatrical configuration that had not been seen in Western culture before… [and] included a circular ring (primarily for equestrian performance) and a raised theatre stage (for pantomime and burletta)” (177) joined together by ramps that were large enough and strong enough to allow horses to be ridden over them during performances. The stage at Astley’s Amphitheatre was said to be the largest in Europe measuring over 130 feet across. A proscenium arch was installed in 1818 which could be adjusted in full view of the audience with the stage opening changing anywhere in size from forty to sixty feet (Saxon 300). The staging evolved so that it had the capacity to be multi-level, involving “immense [moveable] platforms or floors, rising above each other, and extending the whole width of the stage” (Meisel 214). The ability to transform the stage by the use of draped and masked platforms which could be moved mechanically, proved central to the creation of the “new hybrid genre of swashbuckling melodramas on horseback, or ‘hippodramas’” (Kwint, Leisure 46). Foot soldiers and mounted cavalry would fight their way across the elaborate sets and the production would culminate with a big finale that usually featured a burning castle (Kwint, Legitimization 95). Cirque du Soleil’s investment in high-tech staging can be clearly seen in KÀ. Mark Swed writes that KÀ is, “the most lavish production in the history of Western theatre. It is surely the most technologically advanced” (Swed). With a production budget of $165 million (Swed), theatre designer Michael Fisher has replaced the conventional stage floor with two huge moveable performance platforms and five smaller platforms that appear to float above a gigantic pit descending 51 feet below floor level. One of the larger platforms is a tatami floor that moves backwards and forwards, the other platform is described by the New York Times as being the most thrilling performer in the show.The most consistently thrilling performer, perhaps appropriately, isn't even human: It's the giant slab of machinery that serves as one of the two stages designed by Mark Fisher. Here Mr. Lepage's ability to use a single emblem or image for a variety of dramatic purposes is magnified to epic proportions. Rising and falling with amazing speed and ease, spinning and tilting to a full vertical position, this huge, hydraulically powered game board is a sandy beach in one segment, a sheer cliff wall in another and a battleground, viewed from above, for the evening's exuberantly cinematic climax. (Isherwood)In the climax a vertical battle is fought by aerialists fighting up and down the surface of the sand stone cliff with defeated fighters portrayed as tumbling down the surface of the cliff into the depths of the pit below. Cirque du Soleil’s production entitled O, which phonetically is the French word eau meaning water, is a collaboration with director Franco Dragone that has been running at Las Vegas’ Bellagio Hotel since 1998. O has grossed over a billion dollars since it opened in 1998 (Sylt and Reid). It is an aquatic circus or an aquadrama. In 1804, Charles Dibdin, one of Astley’s rivals, taking advantage of the nearby New River, “added to the accoutrements of the Sadler’s Wells Theatre a tank three feet deep, ninety feet long and as wide as twenty-four feet which could be filled with water from the New River” (Hays and Nickolopoulou 171) Sadler’s Wells presented aquadramas depicting many reconstructions of famous naval battles. One of the first of these was The Siege of Gibraltar (1804) that used “117 ships designed by the Woolwich Dockyard shipwrights and capable of firing their guns” (Hays and Nickolopoulou 5). To represent the drowning Spanish sailors saved by the British, “Dibdin used children, ‘who were seen swimming and affecting to struggle with the waves’”(5).O (1998) is the first Cirque production to be performed in a proscenium arch theatre, with the pool installed behind the proscenium arch. “To light the water in the pool, a majority of the front lighting comes from a subterranean light tunnel (at the same level as the pool) which has eleven 4" thick Plexiglas windows that open along the downstage perimeter of the pool” (Lampert-Greaux). Accompanied by a live orchestra, performers dive into the 53 x 90 foot pool from on high, they swim underwater lit by lights installed in the subterranean light tunnel and they also perform on perforated platforms that rise up out of the water and turn the pool into a solid stage floor. In many respects, Cirque du Soleil can be seen to be the inheritors of the spectacular illegitimate circus of the 18th and 19th Century. The inheritance can be seen in Cirque du Soleil’s entrepreneurial daring, the corporeal dramaturgy privileging the affective power of the body over the use of words, in the performers presented primarily as character bodies, and in the delivering of essential text either as a prologue or as lyrics to songs. It can also be seen in Cirque du Soleil’s innovative staging design, the uptake of military based technology and the experimentation with cutting edge visual effects. Although re-invigorating the tradition and creating spectacular shows that in many respects are entirely of the moment, Cirque du Soleil’s aesthetic roots can be clearly seen to draw deeply on the inheritance of illegitimate circus.ReferencesBratton, Jacky. “Romantic Melodrama.” The Cambridge Companion to British Theatre 1730-1830. Eds. Jane Moody and Daniel O'Quinn. Cambridge: Cambridge University, 2007. 115-27. Bratton, Jacky. “What Is a Play? Drama and the Victorian Circus in the Performing Century.” Nineteenth-Century Theatre’s History. Eds. Tracey C. Davis and Peter Holland. Hampshire, UK: Palgrave Macmillan, 2007. 250-62.Cavendish, Richard. “Death of Madame Tussaud.” History Today 50.4 (2000). 15 Aug. 2014 ‹http://www.historytoday.com/richard-cavendish/death-madame-tussaud›.Cirque du Soleil. 2014. 10 Sep. 2014 ‹http://www.cirquedusoleil.com/en/home/about-us/at-a-glance.aspx›.Davis, Janet M. The Circus Age: Culture and Society under the American Big Top. Chapel Hill and London: University of North Carolina Press, 2002. Hays, Michael, and Anastasia Nikolopoulou. Melodrama: The Cultural Emergence of a Genre. New York: Palgrave Macmillan, 1999.House of Dancing Water. 2014. 17 Aug. 2014 ‹http://thehouseofdancingwater.com/en/›.Isherwood, Charles. “Fire, Acrobatics and Most of All Hydraulics.” New York Times 5 Feb. 2005. 12 Sep. 2014 ‹http://www.nytimes.com/2005/02/05/theater/reviews/05cirq.html?_r=0›.Fink, Jerry. “Cirque du Soleil Spares No Cost with Kà.” Las Vegas Sun 2004. 17 Sep. 2014 ‹http://www.lasvegassun.com/news/2004/sep/16/cirque-du-soleil-spares-no-cost-with-ka/›.Fricker, Karen. “Le Goût du Risque: Kà de Robert Lepage et du Cirque du Soleil.” (“Risky Business: Robert Lepage and the Cirque du Soleil’s Kà.”) L’Annuaire théâtral 45 (2010) 45-68. Trans. Isabelle Savoie. (Original English Version not paginated.)Hurley, Erin. "Les Corps Multiples du Cirque du Soleil." Globe: Revue Internationale d’Études Quebecoise. Les Arts de la Scene au Quebec, 11.2 (2008). (Original English n.p.)Jacob, Pascal. The Circus Artist Today: Analysis of the Key Competences. Brussels: FEDEC: European Federation of Professional Circus Schools, 2008. 5 June 2010 ‹http://sideshow-circusmagazine.com/research/downloads/circus-artist-today-analysis-key-competencies›.Jando, Dominique. “Philip Astley, Circus Owner, Equestrian.” Circopedia. 15 Sep. 2014 ‹http://www.circopedia.org/Philip_Astley›.Kwint, Marius. “The Legitimization of Circus in Late Georgian England.” Past and Present 174 (2002): 72-115.---. “The Circus and Nature in Late Georgian England.” Histories of Leisure. Ed. Rudy Koshar. 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Circus: The Australian Story. Melbourne: Melbourne Books, 2011. Stoddart, Helen. Rings of Desire: Circus History and Representation. Manchester: Manchester University Press, 2000. Swed, Mark. “Epic, Extravagant: In Ka the Acrobatics and Dazzling Special Effects Are Stunning and Enchanting.” Los Angeles Times 5 Feb. 2005. 22 Aug. 2014 ‹http://articles.latimes.com/2005/feb/05/entertainment/et-ka5›.Sylt, Cristian, and Caroline Reid. “Cirque du Soleil Swings to $1bn Revenue as It Mulls Shows at O2.” The Independent Oct. 2011. 14 Sep. 2014 ‹http://www.independent.co.uk/news/business/news/cirque-du-soleil-swings-to-1bn-revenue-as-it-mulls-shows-at-o2-2191850.html›.Tait, Peta. Circus Bodies: Cultural Identity in Aerial Performance. 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The aim of the article is to reveal the peculiar features of intonation as one of the most essential means of a professional actor’s logic-emotional expressiveness, as well as to define the specificity of logical intonation of an utterance in the context of verbal activity. The research methodology. The author has applied typological, systems methods and the method of functional analysis to analyse intonation in the context of verbal activity by a professional actor. The method of terminological analysis has been used to specify basic terms and definitions of the research. The method of cognitive analysis has enabled the extrapolation of theoretical foundations of linguistics to the theatrical art. Scientific novelty. The article presents the research of intonation as the main means of logic-emotional expressiveness in the context of a professional actor’s verbal activity. The author has analysed the functions of intonation, peculiar features of its components, such as logical and verbal stress, pauses, rising and falling tones, speech melody, voice timbre, tempo, as well as intonation constructions in the theatrical speech. Moreover, the author has described some types of utterances with different emotional shades in the context of selecting language means by an actor to make a character expressive/well-marked. Conclusions. Connotative and emotional-stylistic differences in an actor’s speech when in an image appear as a result of cooperation between sentence syntactic structure, the lexis, intonation patterns used and denotative relations in the context. Emotional verbal expressiveness of a professional actor is a result of a complex work at all language levels: lexical, syntactical, and prosodic. Using intonation an actor can express various character’s emotions such as surprise, elation, joy, sadness, fear, and anger. Logical intonation in the professional actor’s speech comprises speech melody, tempo, and timbre. It is an inseparable component of a speech act and a powerful tool of influence on the audience. The spectators can understand through intonation only a specific emotion the actor expresses during the character presentation. Mastering stage speech at the professional level means a thorough selection of intonation means according to their communicative and pragmatic potential in a specific dramaturgic piece. Taking into account the influence of intonation pattern of a character’s mother tongue is one the essential elements of selecting verbal means of an actor’s expressiveness in the process of creating an image.
 Key words: intonation, logical intonation, logic-emotional expressiveness, stage speech, professional actor.