The Director’s Embodiment of Bella Bartok’s Opera "Duke Bluebeard’s Castle":Compositional and Production Aspect

Abstract

It was considered the main director's approaches to ideological and thematic analysis of B. Bartok's opera "Duke Bluebeard's Castle", which formed the basis of the concept of the play produced by the applicant. The author outlined the compositional features of the realized performance in comparison with the composer's idea. The applicant highlights the features of the director's interpretation of modern opera in the postmodern aesthetics, based on various methodological approaches, including analytical, communicative and structural-systemic methods. Factors that cause the phenomenon of abuse in human relations have been analyzed in the world of modern trends. There are options for triggers that can provoke the violent existence of partners in modern society. The need to introduce into the traditional composition of B. Bartok's opera the second part-reflection with a specialist psychologist in order to draw attention to the problem of violence in relationships and the desire to encourage society to dialogue on this topic. The moments of interpretation of musical and theatrical works of the above aesthetic direction are marked. The author's point of view on the problem of violence is proposed, where the victim, in connection with the acquired negative experience, turns himself into an abuser. The main markers of abusers' behavior and unhealthy relationships are highlighted. The vectors that guide the consideration of the causal relationships of this kind of relationship are marked so that directors can understand the nuances of the behavior of abusers and victims of violence. The author explains the directorial embodiment of an operatic work of the Art Nouveau period with clearly delineated characteristic features of time and place of action in the conditions of theatrical postmodernist orientation. The specifics of the director's interpretation of B. Bartok's opera "Duke Bluebeard's Castle" in the author's art project are determined. The perspective for further scientific research of the problem of abuser and its reflections on theatrical stages is modeled