Прояв тенденцій музичного і хореографічного мистецтв ХХ - початку ХХІ ст. у творах за мотивами поем Ованеса Туманяна

Abstract

The purpose of the study is to analyze the ballets and the dance fragment of the opera created on the basis of Hovhannes Tumanyan’s poems in the context of the trends in musical and choreographic art of the 20th and beginning of the 21st centuries; to identify the artistic means by which it is possible to embody the images and situations of a literary work in opera and ballet art. Methodology. The operas “Almast” by A. Spendiarov and “Salome” by R. Strauss were analyzed using the method of comparative musicology. An art history analysis of the ballets’ videos was carried out, their comparison with the poems of O. Tumanyan in order to identify the motives that formed the basis of their choreographic embodiment. The scientific novelty. For the first time, an art criticism analysis of ballet performances created on the basis of O. Tumanyan’s poems was carried out through the prism of the 20th and early 21st centuries main trends. (image of rock, visualization of an internal psychological split, interweaving of reality and science fiction, symbolism). Conclusions. The operas of A. Spendiarov “Almast” and R. Strauss “Salome”, in particular the fate of the main characters, have many parallels, which is due to the artistic trends of the late 19th and early 20th centuries. The image of rock (merciless fate), implied or embodied as a specific stage character, was most clearly manifested in A. Spendiarov’s opera Almast, in the dance and plastic theatrics “Anush Olmak” (Anush. To be) L. Taberyan and the ballet “Maro” directed by N. Megrabyan. In the ballet “Anush” directed by R. Kharatyan, the predetermined fate of Anush from above is less expressed. It is replaced by the inexorability of Adat (coming from the ancestors of the indestructible law). The visualization of the internal psychological split of the heroes – their black and white, evil and kind, angelic and diabolical forms, and the clash of conflicting emotions of their inner world are most clearly manifested in the image of Almast in the musical development of her image by A. Spendiarov. In the dance and plastic theatrics “Anush. Olmak” by L. Taberyan, the internal psychological split-bifurcation of the heroine is visualized, since the heroine has two scenic roles. The rock, the evil fate that gravitates over the heroine, is also represented in a concrete stage manner. Beliefs, the interweaving of reality and science fiction, are presented in the choreographic performances of N. Megrabyan “Sako Lori”, “Maro”. The folk rites are reproduced in “Anush. Olmak” (Anush. To be) by L. Taberyan. Symbolism is characteristic of the production of R. Kharatyan’s ballet “Anush” both at the musical and choreographic-production levels. The study proved a significant interpretative potential of the Hovhannes Tumanyan’s works for the opera and ballet art.