Особенности сценической интерпретации оперы «Евгений Онегин» П. И. Чайковского режиссёром Е. Арье в постановке Большого театра (2019)

Abstract

The article is devoted to the phenomenon of the art of contemporary opera, in which a special role is carried out by the masterpieces of the Russian musical culture – Tchaikovsky’s operas. By the example of Eugene Aryeh’s production of the opera “Eugene Onegin” the techniques of deconstruction of the figurative-semantic element of the performance and introductions of polystilistic elements into the choreography of the mass scenes, both of them characteristic for the postmodernist type of stage production are generalized. The tendencies of convergence of the opera masterpiece, leading to the vulgarization of the artistic image and the redundancy of kitsch in the folk-based protagonist are revealed. The article defines the disputability of certain artistic solutions of some opera productions and, along with this, the effectiveness of separate provocative elements of the stage action bringing together the cultural worlds of various epochs activating the process of perception. The materials for the research have been provided by the video recordings from the premiere demonstration of the opera “Eugene Onegin” on the stage of the Bolshoi Theater, as well as texts in periodical editions containing interviews with the opera producer and the leading artists. Keywords: Eugene Aryeh, opera “Eugene Onegin,” Tchaikovsky, Bolshoi Theater, stage interpretation, opera production.