Abstract
Research objective. The aim of this article is to identify characteristic models of understanding the two worlds in historical perspective and its impact on the formation and development of simultaneous drama as one of the most optimal for theatrical music of the XX – early XXI centuries. The methodology consists of a system-historical method for considering the phenomenon of the two worlds in art; comparative method for comparative characterization of the influence of the two worlds on the structure and drama of musical works. The scientific novelty is the disclosure of the philosophical and aesthetic category of “double worlds” in various musical genres, mostly theatrical. The dual world is understood as a special type of relationship of different dimensions (personality – the world around us, reality – unreality, etc.). Tracing the genesis of the category of the two worlds from Plato to the present, revealed certain features and its impact on the musical art of the late twentieth – first decades of the twenty-first century. Double worlds influences a special drama, close to the simultaneous type, or the whole work (opera-ballet “Viy” by V. Hubarenko), or its individual sections (“scene of Renata’s hallucinations” in the first act, “scene of knocks” in the second act of the opera “Angel of Fire” by S. Prokofiev). Double worlds subordinates composition, floats to choose from unusual genres – the theater of the absurd in opera “Le Grand Macabre” by D. Ligeti and “Fin de partie” by D. Kurtag. From Romanticism to the present day, there are many examples of literary and theatrical works in which the problem of opposition or coexistence of two different worlds, that is, what is concentrated in the definition of “double worlds”. However, if in literary studies the phenomenon of the dual world is sufficiently reflected, then in musicology there is almost no development of this issue. Conclusions. As a result of this study, it is possible to approach a deeper divergent understanding of the musical world between the prism of the reflection of its historical models. First of all, the two worlds appeal to a certain plot, imagery, close to the mystical, fantastic, phantasmagoric, often occult action.
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