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Music and Time

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Opera Director Emmanuel I. Kaplan: at the Origins of the Author's Directing
N.B. Seliverstova

The theme of the article seems relevant in the context of the development of the world of music theatre. Today the Opera house as in the beginning of the last century, remains a subject of the Director's experiments, attempts to update the contents of an Opera, to make it socially significant phenomenon. We have to admit that modern Opera house, forcibly occupied mainly by rethinking the old repertoire, sought to update its contents due to the transfer of the action to another era and another social environment, due to the sometimes dubious "revival" of the visual imagery of the phantoms Director's "vision", not related to the "spirit of music". Often
this is caused by a lack of musical drama from Directors who ignore the nature of the musical scores in the quest to actualize and dramatize the story-based Opera as a phenomenon. But Directors, musicians do not always have sufficient artistic culture to seek for inspiration in a variety of aesthetic experience, European and Eastern theatre of bygone eras. Drawing staging ideas from topical
life, they are "vulgar sociologizing" Opera arbitrarily "transplanting" it into an alien cultural environment. Scientific novelty of research is determined by the fact that the first creative activity E. Kaplan is regarded as a basic stage of development of the Petersburg contingent of the Opera house in its relations with the European theatrical process. For the first time restored the early performances of Kaplan, which formed the main features of his directorial vocabulary, which found the creative development of Opera direction in the XX and XXI centuries. For the first time the development of the ideas of conventional Opera,
the directing principles of which in St. Petersburg was founded by V. E. Meyerhold, is considered a successive term.
Keywords: Opera, musical score, Kaplan, ideas of conditional theatre directing vocabulary.

Contacts: E-mail: selinate@mail.ru

Pp. 37-45.

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