Operetta «Key on the Pavement» by Jacques Offenbach: Modern Directing and Analytical Aspect
DOI:
https://doi.org/10.31318/0130-5298.2021.47.256720Keywords:
Creativity of Jacques Offenbach, musical theatre, musical directing, J. Offenbach's operetta «The Key on the Pavement»Abstract
The phenomenon of operetta in the context of small forms, сreativity of J. Offenbach through the prism of directorial research and experiments in modern musical theater on the example of the work «The Key on the Pavement» has been studied.
The relevance of the study is clarified, which is the need to rethink and modernize the genre of operetta in new historical conditions and in new scientific perspectives.
The purpose of the research is outlined, which is to determine the original directorial approaches of the iconic incarnations of J. Offenbach's operetta «The Key on the Pavement» in the context of the peculiarities of the musical drama of the work.
Selected research methods: historical and biographical – to analyze the periodization of the work of composer J. Offenbach; genre-stylistic for the analysis of operetta musical drama; interpretive – to identify the features of different productions of «Key on the Pavement»; prognostic – to outline the prospects of stage incarnations of the chosen topic and its further scientific research. The metamorphoses of the operetta genre in new socio-cultural conditions are considered, the urgency of contemporary appeals of artists to the chosen subject is clarified. The place of the operetta «The Key on the Pavement» in the context of the periodization of the creative activity of J. Offenbach, the peculiarities of its plot and musical drama. The vectors of director's interpretations of the operetta in the context of rethinking the author's concept of the work in accordance with the realities of today are analyzed.
The scientific novelty of the publication is determined – the search for a modern, original directorial solution of the operetta in the context of modern vectors of its incarnations. Prospects for further stage interpretations and research of the chosen theme of J. Offenbach's work in the context of modernization of the operetta genre in accordance with modern public demands and the possibilities of the theater stage are predicted.
References
Asoyan A. (2016). Contemporary art: continuation of dialogue or paradigm shift? [Sovremennoe yskusstvo: prodolzhenye dyaloga yly smena paradygmyy?] // Contemporary art in the context of globalization: science, education, art market: materials of the VI All-Russian scientific-practical conference. St. Petersburg. P. 11–15 [in Russian].
Borisova A. (2016). Postmodernism and the problems of formation of a new mass culture [Postmodernyzm y problemyy formyrovanyja novoy̆ massovoy̆ kul'turyy] // Contemporary art in the context of globalization: science, education, art market: materials of the VI All-Russian scientific-practical conference. St. Petersburg. P. 93–95 [in Russian].
Volkov M. (1998) At the sources of Ukrainian operetta [Bilia dzherel ukrainskoi operety] // Music. № 4 (316). P. 26–28 [in Ukrainian].
Zimbuli A. (2016). Art in the context of globalization: ethical aspects [Yskusstvo v kontekste globalyzacyy: эtycheskye aspektyy] // Contemporary art in the context of globalization: science, education, art market: materials of the VI All-Russian scientific-practical conference. St. Petersburg. P. 19–21 [in Russian].
Kovalenko Y. (2007). Ukrainian musical comedy theater: changing priorities [Ukrainskyi teatr muzychnoi komedii: zmina priorytetiv] // Problems of interaction of art, pedagogy and theory and practice of education: a collection of scientific works. Issue 20. Art: «from existing to emerging». Kharkiv: KhDUM named after I. P. Kotlyarevsky. P. 254–262 [in Ukrainian].
Kovalska I. (2007). From the operetta to the musical: to the question of the historical logic of the development of musical comedy [Ot operettyy k mjuzyklu: k voprosu ob ystorycheskoj logyke razvytyja muzyykal'noj komedyy] // Musical art and culture: scientific bulletin of the Odessa State Music Academy A. V. Nezhdanova. Vip. 8. Book 2. Odessa: Printing House. P. 146–148 [in Russian].
Krakauer Z. (2000). Jacques Offenbach and Paris of his time [Zhak Offenbah y Paryzh ego vremeny]. Moscow: Agraf. 416 p. [in Russian].
Sollertinsky I. (1962). Offenbach [Offenbah]. Moscow: Gosmuzizdat. 35 p. [in Russian].
Stanishevsky Y. (2009). The difficult path of the light genre [Nelehkyi shliakh lehkoho zhanru] // Music. № 1(372). P. 12–14 [in Ukrainian].
Trauberg L. (1987). Jacques Offenbach and others [Zhak Offenbah y drugye]. Moscow: Art. 320 p. [in Russian].
Yankovsky M. (1982). The art of operetta [Yskusstvo operettyy]. Moscow: Soviet composer. 278 p. [in Russian].
Yankovsky M. (1937). Operetta. The emergence and development of the genre in the USSR [Operetta. Voznyknovenye y razvytye zhanra v SSSR]. Leningrad; Moscow. 447 p. [in Russian].
