Abstract
The article presents the history of the creation of "Turandot" based on the play by B. Brecht at the Taganka Theater, directed by Yu. Lyubimov. A significant place as a prototype for Yu. Lyubimov's production is devoted to the unfinished play by the German playwright "Turandot, or the Congress of Whitewashers", work on which was interrupted for many years and resumed only in the early 50s. It is emphasized that in the Taganka Theater, the main form of performance was a musical spectacle with simple vocal and instrumental episodes. The paper analyzes ten zongs for male voice by A. Schnittke, created for the play "Turandot" to poems by B. Slutsky and A. Voznesensky and reveals their genre basis and musical expressive means. The suite principle of alternating zongs in the performance is combined with the form of the background, in which signs of cyclicity appear. It is noted that zongs embedded into the main fabric of the play added the necessary subtext and thus brought Brecht's play closer to the Soviet reality of the late 70s.
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