Режиссерская интерпритация авторского замысла в драматическом и оперном спектакле

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Abstract: The subject of the research is the interpretation of the mechanism for interpreting the author's content in directing. Particular attention is paid to the exact distinction between "art" and "life". The author specifies the fundamental differences between these two concepts and expressed the idea of inadmissibility of "copyism" on stage. It is shown that "art"  is a special type of "the mounted object" that is based on a number of concepts emerging in the unity of ideas. It is emphasized that idea is the organizing structural principle of an artificial object, the author also shows in detail how and by what means a 'physical object' turns into 'artificial'. It is emphasized that the author's intent is the "first-level" interpretation of life, and directing is the "second-level" interpretation of life.  The article provides a thorough theoretical analysis, which allows to highlight certain aspects, features, aspects and operations of the mechanism of interpretation. In addition, the author studies examines literature on the theory of drama and opera directing (a small part of which is shown in the list of references) with a detailed note-taking and citation. Analysis of a large body of classical theoretical literature on the theory of the active analysis of the play, as well as modern materials of the periodical press allows to establish that over the past thirty years nothing substantial has been done in the sphere of directing theory. The academic community has not created any new concepts, neither has it clarified a specific active analysis of the play or director's script. In particular,  the mechanism of the director's interpretation of the author's dramatic material, the way of its functioning in the production of the play have never been fully described or revealed. This gives rise to a huge number of loose interpretations in directing practice and leads not only to the distortion of the original intent of a playwright or composer, but also allows the filmmakers create their works with a very significant distortions of the raw material, as well as to use the play or director's script only as a pretext for their own, very arbitrary, "avant-garde", i.e. unfettered imagination. 

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