Psychologization Of Oksana’s Vocal and Stage image from S. GulakArtemovsky’s Opera ―Zaporozhian Za Dunaiem‖ in Creative Version of Lev Venedyktov

Abstract

The author carried out the research aimed both to determine the factors of creation of S. Gulak-Artemovsky's opera "Zaporozhets beyond the Danube" and to reveal its characteristic features. Changes in the libretto of the work were proved, their influence on the development of the conflict, the peculiarities of its resolution in the implementation of the play were indicated. Due to the review of literary sources, their thematic systematization was carried out according to the following parameters: features of the life of the Transdanubian Cossacks after the destruction of the Zaporozhian Sich; preservation of national traditions, customs, rites of the Ukrainian ethnos abroad; the specifics of the manifestation of the mentality of Ukrainians against the background of their coexistence with another nation, which differs in cultural and religious identification. The methodological study of educational issues through the prism of a comprehensive cross-sectoral understanding of the historical, socio-psychological, cultural, musicological and theatrical aspects of the opera is outlined. Peculiarities of the musical dramaturgy of the work, its construction on the synthesis of creatively reconsidered genre-style features of the French and Italian lyric-commission opera with the Ukrainian song and dance folklore are published. Three dramatic lines in the opera are characterized: lyrical-romantic (images of Andrew and Oksana), comic (images of Karas and Odarka), patriotic (generalized image of the people). The process of creating a holistic vocal-stage image of the heroine was analyzed through the prism of the author’s article E. Kolesnyk who was the performer of Oksana's part under the guidance the Chief Choirmaster of the National Opera of Ukraine L. Venediktov. The individual specific approaches of the artist to the deepening of the psychology of the heroine’s artistic image through the use of a synthesis of various means involved in stage expression were determined. The fruitfulness of the outstanding choirmaster's cooperation with the experience of an opera conductor and singer in revealing the musical drama of opera composition in accordance with the composer's idea is proved. The author predicted the prospects for further explorations of the concept concerning the creating of holistic vocal and stage characters which goal is to find and display new synthesis of artistic means of expression with their inclination to neo-syncretism.