Abstract
The paper analyses the dramaturgic decision and artistic conception of the mono-opera “Adolf Wölfli” by Georg Friedrich Haas through the lens of antinomies, essential elements of its musical-scenic language. Scientific originality of the study lies in the fact that the researchers for the first time provide a comprehensive musicological analysis of the chamber opera of this outstanding representative of the European post-avant-garde. “Adolf Wölfli” is for the first time examined against the background of cultural paradigms and aesthetic conceptions of the postmodernity. The conclusion is made that the opera is based on the antinomies realized by a set of artistic means (instrumental theatre, libretto, musical language), the interaction of which creates a special type of dramaturgy of antinomies representing the key features of the postmodernity aesthetics.
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