Музичний театр Китаю та європейська опера:музикознавчий дискурс в аспекті синтезу мистецтв
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Дата
2023
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Анотація
Мета статті – здійснити музикознавчий дискурс щодо синтезу мистецтв і національних особливостей пекінської музичної опери, її тематики,драматургії, сценічного й вокального втілення у компаративному аналізі з традиціями європейського оперного театру.Методологія статті спирається на комплексний огляд, заснований на історико‐культурологічному та музично‐ теоретичному підходах. Основними методами роботи є: історико‐компаративний, жанрово‐стильовий,музикознавчий, систематизації та теоретичного узагальнення.Висновки. Висвітлено феномен пекінської опери, що є унікальним у світовій культурі. Розглянуто напрацювання українського музикознавства цієї ланкимузичного мистецтва Китаю. Виявлено, що для вітчизняної науки великий інтерес становили історичні аспекти розвитку музичного театру цієї країни, аналіз певних конкретних творів, фольклорних витоків, художніх і виконавських принципів, особливостей сценічного та вокального відтворення тощо. Всі це постало основою синтезу національних співацьких традицій театральної культури Китаю з європейським оперним досвідом, але й донині не отримало належного вивчення. Вищезазначене визначає перспективи дослідження в українському музикознавстві проблематики «схід‐захід» та її проявів як в музичному театрі Китаю, так і в європейському оперному мистецтві.
The article the phenomenon of Beijing Opera in the world culture are highlighted. Various aspects of the phenomenon of Beijing opera are revealed both from the point of view of philosophy and aesthetics of art, as well as the evolution of national culture, features of arts synthesis, international relations of modernity, etc. Determined prospects research on "East‐West" in Ukrainian musicology. Analysis of relevant research. Analysis of relevant research. The PhD theses of Wang Te, Liu Bingqiang, Lien Yun, Hou Jian, Zhang Kai and others played a significant role in the development of theoretical issues regarding traditional Chinese musical performance, its common features and differences with the European opera theater in Ukraine. In the works of recent years, emphasis is placed on the improvement of scientific terminology (Li Ming, Tu Dunya), philosophical and aesthetic foundations of Chinese opera creativity (Ye Xiangwei), etc. Aim of the Study – to carry out a musicological discourse on the synthesis of Arts and National characteristics of Beijing musical opera, its themes, dramaturgy, stage and vocal embodiment in a comparative analysis with the traditions of the European Opera House. Research Methods of the article is based on a comprehensive review based on historical‐cultural and music‐theoretical approaches. The main methods of work are: historical and comparative, genre and stylistic, musicological, systematization and theoretical generalization. Results. The phenomenon of Beijing opera, which is unique in world culture, is highlighted. The development of Ukrainian musicology in this branch of Chinese musical art is considered. It was revealed that the historical aspects of the development of the country's musical theater, the analysis of certain specific works, folklore origins, artistic and performance principles, peculiarities of stage and vocal reproduction, etc., were of great interest to domestic science. Conclusions. A comparative analysis of storylines, figurative spheres, features of solo singing and synthesis of Arts in opera works of the East and West was conducted. The differences between their dramaturgy, libretto, singing sound creation, synthesis of music and stage action, etc., were revealed. It was found that the plots and dramaturgical plots of Chinese and European performances have some similarities, but the art of singing and vocal intonation, the melody of the parts‐roles, and the stage behavior of the characters have significant differences. It is stated that this was the basis of the synthesis of the national singing traditions of the theater culture of China with the European opera experience, but until now it has not received proper study. The above determines the prospects for the study of the "East‐West" problem, its manifestations and synthesis both in the musical theater of China and in European opera art.
The article the phenomenon of Beijing Opera in the world culture are highlighted. Various aspects of the phenomenon of Beijing opera are revealed both from the point of view of philosophy and aesthetics of art, as well as the evolution of national culture, features of arts synthesis, international relations of modernity, etc. Determined prospects research on "East‐West" in Ukrainian musicology. Analysis of relevant research. Analysis of relevant research. The PhD theses of Wang Te, Liu Bingqiang, Lien Yun, Hou Jian, Zhang Kai and others played a significant role in the development of theoretical issues regarding traditional Chinese musical performance, its common features and differences with the European opera theater in Ukraine. In the works of recent years, emphasis is placed on the improvement of scientific terminology (Li Ming, Tu Dunya), philosophical and aesthetic foundations of Chinese opera creativity (Ye Xiangwei), etc. Aim of the Study – to carry out a musicological discourse on the synthesis of Arts and National characteristics of Beijing musical opera, its themes, dramaturgy, stage and vocal embodiment in a comparative analysis with the traditions of the European Opera House. Research Methods of the article is based on a comprehensive review based on historical‐cultural and music‐theoretical approaches. The main methods of work are: historical and comparative, genre and stylistic, musicological, systematization and theoretical generalization. Results. The phenomenon of Beijing opera, which is unique in world culture, is highlighted. The development of Ukrainian musicology in this branch of Chinese musical art is considered. It was revealed that the historical aspects of the development of the country's musical theater, the analysis of certain specific works, folklore origins, artistic and performance principles, peculiarities of stage and vocal reproduction, etc., were of great interest to domestic science. Conclusions. A comparative analysis of storylines, figurative spheres, features of solo singing and synthesis of Arts in opera works of the East and West was conducted. The differences between their dramaturgy, libretto, singing sound creation, synthesis of music and stage action, etc., were revealed. It was found that the plots and dramaturgical plots of Chinese and European performances have some similarities, but the art of singing and vocal intonation, the melody of the parts‐roles, and the stage behavior of the characters have significant differences. It is stated that this was the basis of the synthesis of the national singing traditions of the theater culture of China with the European opera experience, but until now it has not received proper study. The above determines the prospects for the study of the "East‐West" problem, its manifestations and synthesis both in the musical theater of China and in European opera art.
Опис
Ключові слова
традиційний театр Китаю, пекінська опера, європейське оперне мистецтво, оперні амплуа, виконавський стиль, тип драматургії, синтез мистецтв, паралелі «схід‐захід», музикознавчий дискурс, traditional theatre of China, Beijing Opera, European opera art, opera roles, performance style, type of drama, Beijing musical drama, synthesis of arts, "East‐West" parallels, musicological discourse
Бібліографічний опис
Стахевич О. Музичний театр Китаю та європейська опера:музикознавчий дискурс в аспекті синтезу мистецтв [Текст] / О. Стахевич, О. Зав’ялова, О. Устименко‐Косоріч // Педагогічні науки: теорія, історія, інноваційні технології : науковий журнал / МОН України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; [редкол.: А. А. Сбруєва, М. А. Бойченко, О. А. Біда та ін.]. – Суми : СумДПУ ім. А. С. Макаренка, 2023. – № 4 (128). – С. 247–258. – DOI: 10.24139/2312‐5993/2023.04/247‐258