Abstract
The article examines the leading principles of the works for musical theater by Tan Dun – an important American composer of Chinese descent His operas have become brilliant and unique phenomena in the world musical culture of the late 20th and early 21st centuries. The original interpretation of the opera genre presented in the composer’s musical oeuvres is based on an organic amalgam of the Eastern and Western musical-theatrical traditions, manifested in vocal techniques, which connect together elements of the Beijing, Kunju and Italian opera, in the specific sound and timbre generation, in regular compositional principles. The operatic legacy of Tan Dun also absorbs into itself traits of new musical-theatrical practices which have undergone development at the turn of the 20th and the 21st centuries. Their detailed study reveals the issue of the alteration of the role of the poetical text and dramaturgy in a theatrical performance. The early opera by Tan Dun examined in the present article demonstrates a special type of interaction between verbal and musical texts, which opens up new possibilities for dramaturgical and compositional solutions. The publication is prepared within the framework of scholarly project No. 17-04-00198-OGN\19 supported by the RFFI. Keywords: the opera theater of Tan Dun, revivification of the opera genre, interaction between music and drama, American composers.
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