DOI: 10.7256/2453-613X.2022.2.40480

Abstract: The research object of this article is the music embellishment of a dramatic play as one of the key elements in creating a theatrical piece of work's single text. The author is the first to consider the formation of musical space as a director’s method of creating a stage performance. The need to study it is determined by the movement of the modern theatre towards musicalization—the formation of the stage as a single sound space and the shifting of the functions of a background music writer to the director. The research subject is the use of background music and the interpretations of the main musical themes, the detection of the peculiarities of their functions, and an attempt to define the operating name of a director’s method. To achieve this goal, the author uses the observation method and studies the production of the play Krechinsky’s Wedding at Penza Drama Theatre as a director, a choreographer, and an author of the background music. The analysis of the use of background music, which is undertaken for the first time within the framework of theatre drama, shows that music, applied in this algorithm, performs various functions. It creates the atmosphere of action, becomes a play’s full-fledged “text,” and an instrument of the author’s “translation” of a literary work into a theatre-stage language. At the same time, it allows the music space to become integral, thus following the trend of drama theatre moving towards its musicalization. The author suggests naming the director’s method the “transformation of a musical theme.”  

DOI: 10.7256/2453-613X.2020.3.40341

Abstract: The research object of this article is the music embellishment of a dramatic play as one of the key elements in creating a theatrical piece of work's single text. The author is the first to consider the formation of musical space as a director’s method of creating a stage performance. The need to study it is determined by the movement of the modern theatre towards musicalization—the formation of the stage as a single sound space and the shifting of the functions of a background music writer to the director. The research subject is the use of background music and the interpretations of the main musical themes, the detection of the peculiarities of their functions, and an attempt to define the operating name of a director’s method. To achieve this goal, the author uses the observation method and studies the production of the play Krechinsky’s Wedding at Penza Drama Theatre as a director, a choreographer, and an author of the background music. The analysis of the use of background music, which is undertaken for the first time within the framework of theatre drama, shows that music, applied in this algorithm, performs various functions. It creates the atmosphere of action, becomes a play’s full-fledged “text,” and an instrument of the author’s “translation” of a literary work into a theatre-stage language. At the same time, it allows the music space to become integral, thus following the trend of drama theatre moving towards its musicalization. The author suggests naming the director’s method the “transformation of a musical theme.”