Musical Drama Research Articles

DESCTIPTIVE ANALYSIS ON THE KAKULA MUSIC PLAYING PATTERNS AS TRADITIONAL MUSIC OF THE KAILI TRIBE OF CENTRAL SULAWESI PROVINCE

This research is intended to provide an overview of the Kakula Music Playing Pattern as a Traditional Music of the Kaili Tribe of Central Sulawesi Province. Kakula is a traditional music of Kaili tribe (native tribe of Central Sulawesi. The method used in this research is a descriptive qualitative research method in which this research is carried out with data collection techniques using observation, interview and documentation methods. The findings show that Kakula as the music instrument have a long history with the people of Kaili Tribe. The Kakula music have various functions for the people of Kaili Tribe. Hence, Kakula is a form of presentation of ensemble music with rhythmic patterns that are different from one another.

Video Promosi Agen46 BNI Wilayah Padang Dalam Bentuk Drama Musikal

This study employs promotional videos as a strategic tool for shaping personal and corporate identity. Focused on Agen46 BNI, the design objective is to create a compelling promotional medium leveraging the musical drama concept to heighten public awareness and educate the audience on the benefits of Agen46 BNI. Utilizing the 4-D method (Define, Design, Develop, Disseminate), and employing the 5W+1H data analysis method, the design process ensures alignment with specific campaign needs. The resulting promotional video for Agen46 BNI in the Padang Region takes the form of a musical drama, progressing through creative stages of pre-production, production, and post-production. The primary outcome is a promotional video, serving as the main media. To amplify its impact, supporting media such as t-shirts, calendars, posters, notebooks, QRIS stands, and X-banners. This strategy aims to not only enhance public awareness but also educate the audience on the distinct benefits of Agen46 BNI, establishing a comprehensive and engaging promotional campaign.

The Effect of Musical Play on the Social Skill Development of Primary School Students

The purpose of this study is to determine the effect of musical play on the social skill development of third-grade students and to investigate the opinions of classroom teachers on the effect of musical play on the social skill development of their students. The study sample consists of 60 students: 30 in the experimental group, and 30 in the control group. Musical play activities were applied in the experimental group for 10 weeks. At the end of the research, interviews were conducted with both the experimental and control group classroom teachers. The results demonstrate a significant difference, in of the experimental group, between the posttest total scores, adjusted according to the students' social skills scale pretest total score averages. According to the answers to interview questions from the classroom teachers, musical play is beneficial for the development of social skills.

ПОСЛЕДНЯЯ ФОРТЕПИАННАЯ СОНАТА Ф. ШУБЕРТА: ОБРАЗ ПОГРАНИЧНОГО БЫТИЯ

The article is dedicated to the last piano sonata by Franz Schubert. The Sonata B-flat major is written in the composer’s last year of life. The first great compositor of the era of musical romanticism inherited from the Viennese classics sonata form, principles of musical drama, characteristic features of the polyphonic tissue organization. At the same time, in the sonata he introduces elements of variation development that extensively expand the sonata’s allegro. The song and dance genres characteristic of Schubert’s instrumental music play an important role in the Sonata B-flat major. Multi-genre deepens the figurative sphere, complicates musical dramaturgy. On the border between Viennese classicism and emerging romanticism, there is a particular tension. Here it is possible to cross previously impassable boundaries – tonal, scale, genre and figurative. The presentiments of a near end of life have left their mark on all of Sonata’s music. The world of content is filled with extra-musical meanings, each one becoming a perspective of the theme – a transition from being to being. The first part tells about the life of a lyric hero standing at the last line. The second one is about crossing this boundary, and it’s about an imaginary crossing of a river. The river separates the world of the living from that of the dead. The third part is Skerzo – the ghost world of memories. The finale is dedicated to overcoming the delicate imperative of the minor, searching for a way into the light world, illuminated by the radiant tonality of B-flat major.

Principles and Procedures of the Construction of Opera Scenarios

"The construction of opera scenarios involves the development of a dramatic and narrative framework upon which an opera is built. These scenarios serve as the foundation for the libretto, music, staging, and overall production of the opera. In this introduction, we will explore the principles and procedures that guide the creation of opera scenarios. In summary, constructing an opera scenario is a complex and collaborative process that involves the careful consideration of narrative, character, music, and cultural context. The principles and procedures outlined here provide a foundation for the creation of opera scenarios that can captivate audiences and convey the depth of human emotion through music and drama. Over time, the evolution of the singing voice follows a phenomenon of symbiosis between words and music. The intertwining of the act of speaking with that of singing is constantly found in the concerns of the creators in ancient monody, Greek declamation, Gregorian chant, in the polyphonic style, in the opera performance as well as in all the ramifications of the vocal genre. Keywords: opera scenario construction, musical drama, analysis of the libretto, Eugene Onegin, The Queen of Spades."

The librettos of Moniuszko’s operas and the European literary tradition: a comparative perspective on the opposition between serious drama and comedy

The aim of this study is to indicate several features of serious drama and comedy proper to Moniuszko’s operatic output and to describe them within the context of European points of reference (Pierre de Beaumarchais, Alfred de Musset, Jane Austen, Italian librettists). The network of generic and intertextual relationships shows that an important feature of Moniuszko librettos is not their supposed closure within the circle of national inspiration, but on the contrary – a seemingly insatiable openness to the most valuable areas of foreign legacies. The consistent comparison of comic and serious works in a single study also reveals an affinity between the issues at the heart of Moniuszko’s musical dramas, regardless of the tone of particular works. Moniuszko’s oeuvre, both in its comical and serious aspects, reflects, in different ways, one of the themes that has recurred in Europe after cataclysms, such as the holy wars of the Renaissance, the French Revolution (or the Partitions of Poland during the same period) and the conflicts of the twentieth century. One issue at the core of Polish opera turns out to be the disintegration of the social order and the transition to its opposite – the sudden or gradual, but ineluctable movement from harmony to confusion and violence-filled chaos. Halka and The Pariahforge models of a community based on the exploitation of the weak by the strong. Highlighted are instances of individuals refusing to conform to the anti-order. In the comic variant of Moniuszko’s output, meanwhile (The Haunted Manor, The Countess), the relationship between the order and its contradiction takes on the form of an unjustified renouncing of communal values. At the same time, the comparison between serious and comical works refutes the thesis that Moniuszko was an unequivocal eulogist of an ethics based on the unconditional belonging to a national community.

ARTISTIC TRINITY: LITERATURE – CINEMA – MUSIC (THE FILM “EARTH” BY O. DOVZHENKO)

The purpose of the article is to reveal the ideological, thematic, descriptive, intonation-rhythmic consonance of the musical accompaniment of the band “DakhaBrakha” with the film and film story by O. Dovzhenko. The article highlights the role of musical accompaniment in the restored 2012 version of the film “Earth” by the famous Ukrainian director of the twentieth century O. Dovzhenko. This is the first study in which, through the comprehension of the trinity of the samples of music, cinema, and literature, new meanings are revealed in musical compositions and the film, the relevance of the raised existential problems is expressed, the ethnic basis of the concept of characters and the works of art chosen for the analysis as a whole are indicated. The corpus of methods was applied in the research: the cultural-historical method contributed to the understanding of the place, role, and meaning of film, music, and literary texts in contemporary artistic realities; the intermedial approach helped in identifying and characterizing the common, different and peculiar in the pictorial, mood, ideological and thematic, content filling of scenes, micro-episodes, symbolic images and details in samples belonging to various types of arts; the hermeneutic method is applied to reveal and interpret the traditional and innovative in stylistic specificity of the ethno-chaos performance of the “DakhaBrakha” band. Based on the cultural and historical method, the hermeneutic method, and the intermedial approach in the research it was emphasized that the instruments (accordion, drum, cello, ratchet, etc.) involved by the DakhaBrakha musical group, their tonality, rhythm, as well as the Ukrainian folklore samples involved in the content plan contributed to the effective depiction of various states of the main and secondary characters (joy, grief, concentration, sadness, thoughtfulness, etc.), the moods of the peasants, interpersonal relationships, emphasizing the character traits of Ukrainian heroes, hereditary farmers, their natural desire to work on the land and thus self-actualize. The article remarked on the role of pauses in the reflection of emotionally capacious, conceptually important film episodes, micro-episodes, and scenes, enhanced by demonstrative cinematic techniques. The trinity of music, cinematic material, and literary work in the construction of characters and perfect plot layout is emphasized. The musical design of the film “Earth” by O. Dovzhenko, carried out by the ethnic-chaos DakhaBrakha group, accentuates the national selfhood of the Ukrainian character, even though the film tells about collectivization, the purposeful policy of the then Soviet government (the 30s of the twentieth century) to destroy the private property of Ukrainians, to negate the feeling of the owner composed over the centuries. Skillfully combined traditional and innovative stylistic specificity of performing skills of the ethnic-chaos group “DakhaBrakha” contribute to the identification of subtexts, codes for the interpretation of the content of works, actual existential problems, and national originality of the characters. The order, tempo of the musical performance as well as the visual content, that was thought out by the authors of the film, form the musical leading motif of the movie and deepen the understanding of the subtext, symbolic accents of the literary work, emphasize the features of the artistic presentation of the land problem with the help of expressive images of sunflowers, gardens, steppes, fields, oxen, etc. There are a music tempo-rhythmic and tonal-emotional support of frames in the film, that as well performs a peculiar function of sound illustration in the corresponding episodes of the literary text, thus giving the images of main characters and minor characters dynamics and expression. The musical drama of the film “Earth”, audio visualization of the main and secondary characters, repetition, the collision of frames with different plans, landscapes, and the specifics of their location in the frames emphasize the problematic of the literary work, contribute to the multifaceted images of heroes in the literary work and in the film, enhance the understanding of the conflicts (intra-frame, interpersonal, worldview, etc.), testify to the ideological-thematic, compositional, pictorial, emotional-semantic unity of musical, cinematographic and literary texts.

Membentuk Karakter Melalui Seni Pertunjukan

Purpose: This study aims to explain the values of character education contained in the musical drama performance Randai Rantau Malin performed by the Palito Nyalo art group in Pauh District, Padang City. The current character crisis has made an alarming impact on the life of the nation and state. The rise of technological developments today has a negative influence on the younger generation. The government began to emphasize strengthening character education in every educational institution, both formal education and non-formal education, one of which was by providing traditional art training. Method: This research uses qualitative methods with data collection methods taken through observation, interviews, literature studies, and documentation. Data analysis uses qualitative descriptive methods obtained from primary and secondary data. Result and Discussion: The results of this study show that children who participate in learning and engaging in the musical drama performance Randai Rantau Malin better understand the values of character and instill these values in their daily lives. They realize character values such as religious values, honesty values, tolerance values, discipline, creativity, and gotong-royong values. In the event of Rantau Malin, many values and messages can be learned, because the initial function of this art itself is not only as entertainment but there are many elements of values and messages for daily life that can be realized in the family and community. By itself, the values contained in this art can shape the character of today's young generation.

Empathic creativity in child–adult musical play

Despite considerable research on children’s development of prosocial behaviours through musical play and child–adult interactions, such literature tends to focus on how children’s behaviours or dispositions might be improved rather than recognizing the inherent dignity of the children or understanding how adults may also be influenced through such interactions. In this theoretical article we investigate processes of ‘empathic creativity’ to envision possible ways that children and adults might attune to one another as co-equal interactors through musical play. We reviewed literature related to empathic creativity, while considering ways to elucidate each process in terms of its implications for music teachers. To offer possible practical illustrations for empathic creativity, we connect each process to an instance of interactive musical play in the musical engagement between Lily, a 3-year-old Suzuki cello student; the first author; and the student’s parents. This article provides several illustrations of musical play that relate to empathic creativity, inviting further research into each of these elements as well as intersections between them. We also suggest further research into how adults might continue to develop their own social, emotional and musical skills while engaging in co-equal musical interactions with young children. Implications for practice include not underestimating children’s inherent musical and social capabilities, and the importance of music teachers attuning with students in ways that inspire them to learn along with students as they explore new musical ideas and approaches together.

Still ‘queer for Uncle Sam’?: Anita’s Latina diva citizenship in West Side Story, revisited – an interview with Deborah Paredez1

This article, written as a conversation between performance studies scholars Deborah Paredez and Jack Isaac Pryor, revisits Paredez’s influential article, ‘“Queer for Uncle Sam”?: Anita’s Latina diva citizenship in West Side Story’, previously published in Latino Studies. While the 2014 essay explored why West Side Story captures audiences – especially Latinx ones – in spite of its racist and misogynist underpinnings, and why and how it endures as an influential cultural text in the American social imaginary, this interview asks what of Paredez’s original argument feels true and resonant nearly a decade after the original article was published, 65 years since the original film was released, and in light of its 2021 remake starring Ariana DeBose and featuring Rita Moreno in a secondary role. Of particular interest throughout is the figure of Anita/Moreno as ‘diva’ and the identificatory pleasures that she elicits across time and space, and the role that Stephen Sondheim’s contributions to this musical play in the reception process.

세계시민교육을 위한 빅 아이디어 기반 음악 중심 통합단원 설계 방안

Purpose: With globalization, the need to foster global citizenship with global competencies has increased. The purpose of this study was to propose a music-centered integrated unit design based on big ideas to promote students' learning transfer and foster global citizenship through the pursuit of enduring understanding.
 Methods: The core competencies and learning areas of global citizenship education proposed by UNESCO, as well as the big idea and backward design, were examined through a literature review. The curriculum was analyzed to design a music-centered integrated unit. Big ideas were extracted by analyzing the music, social studies, and moral curriculum for grades 5-6 of the 2022 revised curriculum. A music-centered integrated unit was designed to holistically address UNESCO's cognitive, social, emotional, and behavioral domains.
 Results: Based on the Big Idea of Music's Unique modalities, principles, contexts, and expressions, global Issues, peace and prosperity, a total of fifteen lesson plans integrating music, social studies,and moral studies were developed using the three-step process of backward design outlined by Wiggins and Mctighe. Step 1: Set unit goals to prioritize learning based on the big idea. In Step 2, a performance assessment task, “Work with an NGO to put on a musical play about global peace”, was proposed to check for understanding through assessment. In step 3, Investigating the musical characteristics of countries undergoing cultural conflicts and analyzing musical dramas across multiple cultures to transfer learning based on big ideas. The central task involved composing and performing a musical drama that expressed worldwide conflicts.
 Conclusion: Based on the big idea of global citizenship education, this study proposed a design plan for a total of fifteen music-centered integrated units by integrating music, social studies, and moral studies. Through this study, the author expects students to transfer their learning and understanding in music and other subjects to real-life contexts in an integrated way to enhance their global citizenship skills and cultivate pluralistic values to become global citizens.

Analyzing the Development Prospects of Song and Dance Drama Art and Integrated Media from The Greatest Showman

As a Hollywood musical film released at the end of 2017, The Greatest Showman has earned more than 400 million dollars at the box office worldwide with its outstanding original songs and dance elements. It is a Hollywood musical film with a relatively good box office performance in recent years. Global research on musical drama has increased dramatically in recent decades, gradually forming a complete research system. However, it has not yet attracted enough attention in terms of artistic creation techniques of musicals. This article intends to analyze three aspects: the overall research of global musicals, the study of The Greatest Showman drama aesthetics, and the integration of musical, film, and media. Taking The Greatest Showman as an example explores the historical development of musicals and the dramatic art in movies and provides practical, theoretical sources for the creation and development of musicals.

The influence of the first productions of S. S. Prokofiev's opera "War and Peace" on the composition. Birth of new versions of the work. (To the history of the production of "War and Peace" on the stage of the Maly Opera House, 1946-1947).

The subject of the study is the peculiarities of the formation of the canonical two-evening edition of S. S. Prokofiev's opera "War and Peace" and the influence on this process of the authors of the first production of the composition at the Maly Opera House in 1946 - the musical and stage version of conductor S. A. Samosud, director B. A. Pokrovsky and artist V. V. Dmitriev. The main purpose of the work is to identify the key aspects of the impact of the theater and the production process on the appearance of the legendary opera epic S. S. Prokofiev. The methodology of work is based on the principle of historicism in the study of musical drama and the stage fabric of the performance, developed by the domestic theater school. A study of the first edition of the 1943 opera, a detailed analysis of the rehearsal and staging process for preparing the premiere performance at the Maly Opera House, preserved letters and memoirs, periodicals, as well as a number of archival materials reveal a significant role for the authors of the production - conductor S. A. Samosud and director B. A. Pokrovsky - in a revision of the composer's originally created composition, explain the work of S. S. Prokofiev in order to create additional musical and dramatic episodes, which later became the climax of the canonical version of the opera. The author examines the little-known facts of the history of the creation of the opera "War and Peace" by S. S. Prokofiev - the influence of the theater on the appearance of the work formed as a result of work on the production of 1946-1947.

Music Drama

In this fragment of Theodor Adorno’s Versuch Uber Wagner (1952), the author analyzes Richard Wagner’s aesthetic conception of the Gesamtkunstwerk, or a “total work of art.” Drawing on both Wagner’s theoretical works and his operas, Adorno reveals the contradictions of this concept, emphasizing its fundamental difference from Hegel’s definition of art. Examining the relationship between the evolution of opera, the autonomy of the artist, and the development of cultural industries, he shows that despite Wagner’s rejection of the division of labor and his desire for perfect unity, the Wagner’s Gesamtkunstwerk not only fails to eliminate this division of labor but further reinforces it. According to Adorno, Wagner’s music drama is deeply contradictory: the music is locked within the action, leading to an intensification of subjective expression and an excess of plot over music. Wagner himself was aware of these contradictions both at the level of conception and at the level of the practical realization of the work.

The effect of MultiSensory Music Drama on the interactive engagement of students with severe/profound intellectual and multiple disabilities

AbstractBackgroundInteractive engagement, specifically attention and initiation, are considered important skills for facilitating development and learning in students with severe/profound intellectual and multiple disabilities. Prior research has suggested that music therapy and multisensory storytelling are two promising interventions for supporting interactive engagement in this population. However, there are no known/published studies that have investigated the effect of combining relevant elements from musical interaction and multisensory storytelling for this group of students. This study aims to determine the effect of a novel educational approach—MultiSensory Music Drama (MSMD)—on the interactive engagement of students with severe/profound intellectual and multiple disabilities.MethodsA single‐case experimental design, specifically an ABAB design across three participants, was used to describe the effect of MSMD on interactive engagement when compared with a control activity. School staff members' perceptions of student interactive engagement and social validity were obtained.FindingsCoded video observations showed significantly higher levels of interactive engagement during MSMD for all three participants when compared to the control activity. Furthermore, the ratings on the interactive engagement from school staff members improved for two of the three participants. Finally, school staff members scored the social validity and perceived educational usefulness of the MSMD as very high.ConclusionsThe findings provide initial evidence that MSMD may be effective in supporting the interactive engagement of some students with severe/profound intellectual and multiple disabilities.

Formidling av det fragmenterte

The development of musical drama in Norway took place during specific cultural and economic conditions which contributed both to a sporadic performance tradition and a number of unfinished or unperformed works. The history of musical drama in Norway, then, is partly a history of that which did not take place.
 The field’s archival situation remains partly opaque, with music scores, libretti, and other source materials dispersed across libraries, archives and museums; in private ownership or presumed lost. This has had historiographic consequences both for the perspective of theatre and music history studies, as well as for the performing arts.
 The recently founded Society for Norwegian Musical Drama Heritage (FNMA) has initiated the creation of a digital compendium to increase the accessibility of established knowledge as well as of the historical source materials of Norwegian musical drama from the mid-1750s up to the 2nd World War.
 Taking as their starting point an understanding of the dispersed history of musical drama – performed and unperformed – as an unarranged archive, or reservoir, the authors discuss the potential of a digital compendium as a cultural heritage tool.

Building musical lives: The impact of supporting musical play in the everyday lives of autistic children and their families

Musical spaces have been observed to be highly engaging for autistic children, ameliorating barriers often experienced in communication and interaction. Music interventions with this group are widespread and have frequently noted the importance of integrating caregivers. Yet beyond music therapy, there is limited research on how to support music-making in daily life for autistic children and their families. In particular, there is a lack of long-term ecological evidence with this group for how music can support everyday functioning, care routines, and wellbeing. In this study, 25 families participated in a 12-month program which supported the integration of music into everyday life. Families were interviewed at the end of the project regarding the effectiveness of music as a support for daily routines, play, and wellbeing. Qualitative thematic analysis highlighted how families implemented musical strategies in widespread ways as a medium to support communication, create valued opportunities for shared interaction, and as a way to scaffold everyday caring routines. Families’ uses of musical play strategies, as observed in this study, emphasize the importance of incorporating caregivers and home environments as part of arts programs for autistic children, and the effectiveness of empowering parents to use music as a tool to navigate everyday life.

Choral concert “The soul calls for an owner...” by Yurii Alzhniev: genre­stylistic and compositional features

The relevance of the research. The musical work of the well-known Ukrainian composer, a bright representative of the Kharkiv school of composers — Yurii Alzhniev — is widely known and respected in the modern musical culture of Ukraine. The artist is the author of a large number of large-scale and small-scale works for symphony and chamber orchestras, orchestra and ensemble of folk instruments, a significant number of choral, vocal, vocal-symphonic works, theatre music, separate compositions for various instruments and instrumental ensembles, etc. Today, the most significant samples of Yurii Alzhniev’s works are deservedly within the scope of scientific and research attention of domestic musicologists. After all, these works are now increasingly being performed by leading Ukrainian groups and soloists, on concert stages in various regions of Ukraine and abroad. At the same time, many bright musical compositions of the artist, which were created by him in recent years and represent a high artistic value, remain out of research attention. One of such opuses in Yurii Alzhniev’s creative portfolio is the choral concert “The sound of the Master’s soul...” for a mixed unaccompanied choir, in which national features of Ukrainian traditional choral singing and original author’s decisions regarding the organization of the compositional structure and stylistic filling of the work are skilfully and highly artistically interwoven.
 The purpose of this article is to identify the compositional and genre-stylistic features of Yuri Alzhnev’s choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through a musico-logical analysis of this work.
 At the heart of the methodology of the work are the methods and techniques of musicological analysis used in theoretical musicology. In particular, this is a method of complex analysis, which is used in the implementation of a holistic analysis of a selected piece of music, as well as separate theoretical methods: genre and style analysis, analysis of musical form, intonation analysis, analysis of elements of musical language. In addition, systematic and system-forming methods, the method of comparative analysis, methods of systematization, synthesis, and generalization are involved in the work methodology.
 The results obtained in the course of achieving the goals in this article are focused on revealing the compositional and genre-stylistic features of the choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through the musicological analysis of this work.
 The novelty of the work lies in the fact that the choral work of the famous Ukrainian composer Yuriy Alzhnev in recent years has found its musicological interpretation for the first time in the form of his choral concert “The soul calls for an owner...” The genre-stylistic and compositional specifics of this work are defined, the authorial approaches to the realization of this composition in the outlined aspects are summarized.
 The practical significance of the performed musicological analysis of the selected work lies in the possibility of using it in the study of the musical work of modern Ukrainian composers, disciplines related to musical composition and choral art, as well as a musicological supplement to the use of this music in concert performance practice.
 Conclusions. Turning to the creation of his choral concert “The soul calls for an owner...” Yurii Alzhniev chose this genre typical for choral music, relying mostly on a complex of traditional means and canons. At the same time, he created a rather interesting and individualized musical drama in this work, in which he skilfully used and expanded the possibilities of a simple verse form, integrating features of the three-part and rondo forms into it. In terms of style, the composer, once again, significantly enriches the relatively traditional musical presentation of the concert, “decorating” it with intonation freshness, interesting textural and compositional solutions, “spiciness” of harmonic language, etc. At the same time, the intonation basis of the work radiates its deep national character and belonging to the Ukrainian choral tradition. This is the essence of the authorial musical and linguistic specificity and the originality of Yurii Alzhniev’s choral style, which was deeply and vividly manifested in the choral concert “The soul calls for an owner...”.

Staging Hillula: Ariel Bension and Avraham Zvi Idelsohn in early twentieth-century Jerusalem

ABSTRACT The writer, Zohar scholar and Zionist activist Ariel Bension (1880–1932) has attracted attention of late from scholars seeking to recover an alternative vision of Zionism with Mizrahi roots in Ottoman Palestine. Yet the instrumentalization of Bension’s biography for the politics of identity in present-day Israel has led to a flattening effect whereby Bension is divorced from his manifold ties to European and global Jewish culture. In this article, we demonstrate those complex transnational and multidisciplinary dimensions of Bension’s life, theatrical oeuvre and thought through a reconstruction of his brief collaboration on a Hebrew musical play and film project with music scholar, composer and educator Avraham Zvi Idelsohn (1882–1938). Presenting newly discovered archival documents, we explore both the tangled array of social identities present in the early Zionist cultural elite and the emergence of a shared global Jewish imaginary in a moment of profound historical change.

WORLDLY SIGNIFICANCE OF THEATERS: IREVAN STATE AZERBAIJAN DRAMA THEATER

Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All three theaters, which have a great tradition of Armenian influence, have undoubtedly struck a blow. The annals of the Theater, which went through a tumultuous journey and was repeatedly subjected to Armenian vandalism, is a part of the historical destiny of our compatriots in the ancient lands of Azerbaijan. The article discussed the history, activity, and post-deportation activities of the Yerevan State Azerbaijan Drama Theater in exchange for all these processes. At the same time, attention was drawn here to the current situation of the Iravan State Azerbaijan Drama Theater and the works in the theater's repertoire. It was emphasized that the theater, which went through a difficult and turbulent path, goes on tours today, stages new plays, and gives successful performances. The article is dedicated to the ongoing processes related to the Yerevan State Azerbaijan Drama Theater.