Восток и Запад в оперных нарративах ХХ века: от столкновений к зеркальным отражениям

Abstract

The article is devoted to the evolution of the perception and implementation of the culture of the Far East in the narratives of Western operas of the twentieth century. As material, the author turns to "Madama Butterfly" and "Turandot" by Giacomo Puccini, "Curlew River" by Benjamin Britten, "A Night at the Chinese Opera" by Judith Weir. A holistic view of the evolution of the perception and interpretation of the East in the opera of the twentieth century has not yet been undertaken. Operas by Puccini and Britten were not considered from the perspective of the specifics of narrative, Weir’s "A Night at the Chinese Opera" is practically unexplored. The article traces the path of transformation of the perception of China and Japan in European opera narratives of the twentieth century from the confrontation of worlds to their interpenetration and awareness of deep identity. There are two main stages in the evolution of the oriental theme in the twentieth century, the line between which was drawn by the events of the Second World War. In the operatic narratives of the first stage, there is a connection with the romantic tradition of personifying the West and the East as masculine and feminine principles with the invariable victory of the West. The opera narratives of the second, pivotal stage demonstrate the disappearance of the conflict between East and West. As tools for the dialogue of cultures, the author notes Britten’s and Weirs’ reflection of plots from one culture in the narrative of another, as well as the comparison of theatrical systems: European and Far Eastern.