Musical and Theatrical Creativity in the Logos of Music History

Abstract

The purpose of the article is to analyse the productions of the 21st century musical and theatrical works of the 19th – 20th centuries in the aspect of postmodernism and baroque. The methodology of the work includes scientific methods (source studies, historical, generalising) and methods of comparative analysis to reveal the specifics of postmodern performances. The scientific novelty of the work lies in the fact that sources in foreign languages have been introduced into scientific circulation, and an analysis of musical and theatrical works has been carried out. Conclusions. It is noted that at all times the opera remains a musical-dramatic performance with a synthesis of arts that affect human feelings and immerse in audiovisual art. Postmodern music and theatre creativity, as well as baroque art, are aimed at evoking affects (states of mind) through various influences. In postmodernism, this is already the systemic influence of singing, dancing, modern technologies with the immersion of the audience in the action and plot complications, which also contribute to the transmission of various affective states. In the Baroque era, the composer was not considered an original genius, and their creativity and works were not untouched. The performer was allowed to interpret the written text. Postmodern period plays are characterised by: changing the libretto (E. Humperdinck’s "Hansel and Gretel" ("Jeníček a Mařenka", 1890, 2015); A. Dvořák’s "The Devil and Káča" ("Čert a Káča", 1899, 2016); "A soldier and a dancer". According to the functional sphere and the city of performance, parts of the work could be omitted or replaced. Actually, what we observe today, in the art of postmodernism is a reinterpretation of the heroes and their functions (Hansel and Gretel are not just poor children, but circus students, where the father is a director). Features of domestic comedy, fairy tale – in baroque opera were complemented by masks and tragic events. In post-modern performances, masks are replaced by puppets, for example, in the operas of B. Martin "The Soldier and the Dancer", E. Humperdinck "Hansel and Gretel", A. Dvořák "The Devil and the Duck". A parallel with the French baroque opera-ballet in the works of postmodernism is the strengthening of the role of dance in opera performances ("The Devil and Kacha", ballet with singing by B. Martin "Spalicek"). Plots with real and fairy-tale-fantasy characters, which are similar to the "myth" ("Hansel and Gretel", "The Devil and the Duck"). The external spectacularity and scale in Baroque works resonate with the specific stage design: inn, hell, palace ("Devil and Kacha"); animation of the middle of the 20th century – Disney pictures ("Hansel and Gretel"); the image of the Soldier – the world of dreams – childhood with dolls – a machine with dolls ("The Soldier and the Dancer").
 Keywords: postmodernism, logos of music history, baroque, baroque opera, opera, ballet, opera-ballet, music and theatre art, elements of puppet theatre, stage design, libretto.