Theatricality as an element of the artistic structure of vocal performance

Abstract

The purpose of the article. The primary purpose of this study is the intention of disclosing theatricality as one of the main elements of the artistic structure of the vocal variety. The mentioned fact determines the relevance of the integrated approach in the theoretical works devoted to this problematic. The methodology is multilevel. It includes both the philosophical level of music studies, formal logical methods, and specific approaches at the crossroads of cultural studies, aesthetics, musicology, pedagogy and theatrical art. Especially unique are complex and system processes. The scientific novelty of this work is justified through the output of this study on the need for synthesis in the various performance of not only vocal skill but also the plastic aspect, which is embodied in the form of the theatrical variety. A particular issue, therefore, is the answer to the challenge of new requirements for variety performance, due, among other things, to the development of media. Conclusions. On the integrity of the variety, the act should be said when the essential principle is observed for all genres of variety art – the created work of various art should be based on such expressive means that belong exclusively to a particular variety genre. The theatricality of variety performance follows from the specific structure of the act: it has a short string (the beginning), which should immediately impress the audience and a quick transition to the next parts of the performance. Locality and mobility are the features that best and most accurately characterize variety expressiveness.