ПРО СПІЛЬНІ ПРИНЦИПИ ТЕАТРАЛЬНОГО ТА МУЗИЧНОГО МИСТЕЦТВ

Abstract

The article is devoted to the problem of the expressiveness of the prosodic-sound component of a dramatic performance. This problem is part of a more general task of updating and improving the creative arsenal of performers. Enriching and expanding means of expressiveness is always an internally urgent process, for which the analytical approach in determining the potential base is essential. The urgency of searching for new artistic ideas and corresponding expressive means is connected with the creation of artistically significant productions, with the tasks of activating the impact on the viewer, the approval of artistic and value orientations.The purpose of the article is to substantiate the potential basis for improving the artistic expressiveness of a dramatic performance; to define the common points of two areas of artistic creative activity – musical and theatrical; the possibility of using the expressive means of music language in the artistic integrity of the dramatic performance.The methodology of the researchconsists in revealing the possibility of extrapolation some points of the music content’s theory of A. Kudryashov on the situation of drama performance. The theory of integrated analysis of a literary work and the theory of the art prose’s rhythm of M. Girshman rendered an opportunity to reveal significance and functioning some of the verbal elements in artistic integrity. The principles of the integrated analysis of musical composition of L. Mazel are the methodology basis of comparing the lexical (verbal and musical) structural units. The scientific novelty of the article consists of the consideration of a question about expressiveness of verbally-voice constituent of the dramatic performance. The novelty things are: the accent on the rhythmical organization of the verbal speech; the extrapolation of music expressive facilities into the situation of the dramatic performance.Conclusions. The principles, which draw theatrical art closer to musical one, are the existence of a mediator between the author and recipient; processuality as an immanent quality. The mean of improving the artistic expressiveness of the process-speech side of the performance is the extrapolation of various types of music speech’s rhythmical organization and their intonation contents.