E. M. Kovanzhi
Price: 50 руб.
DOI:
https://doi.org/10.25807/PBH.22225064.2019.51.207.212
The article discusses the work of M. Béjart as an opera director as
a phenomenon in the musical opera theater of the 20th century. The
centuries-old tradition of participation of choreographers in opera
productions is noted. Some phenomena of the musical theater of the 20th
century, which were refl ected in the works of M. Béjart, are considered.
The origins of the choreographer’s creative thinking are found. The
author of the paper examines several specifi c performances and fi nds
out in what way the choreographer’s experience infl uenced the directorial
embodiment of operas. It seems relevant to analyse the work of
M. Béjart as an opera director as part of the creative heritage of the
choreographer. Appealing to this topic, poorly studied by art critics,
seems especially relevant in the context of the problems of synthesising
musical theater and searching for tools of visual expression.
Keywords: synthetic theater, opera, modern musical theater, synthesis of
arts, choreography in opera, symphonic style.
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