«Abduction from the serial» V.A . Mozart: to the problem of stage interpretation of opera text

Abstract

The purpose of the article is to study the opera V.A. Mozartє’s «Abduction from the serel» in the light of her stage life, becoming an integral part of the opera text, as well as consideration of the peculiarities of the functioning of the interpretive and staging versions of this opera in contemporary artistic and cultural space. Methodology. Specificity of the directions of research stated in the work led to the unification of historiographical, semiological, comparative and problematic research methods. Scientific novelty consists, on the one hand, in the definition of those communication mechanisms, thanks to which the opera V.А. Mozart’s «Abduction from the serial» continues to be one of the headliners of the modern musical theater, on the other hand, in approaching the opera as a historically open phenomenon, the value-semantic architectonics of which is mobile, varied and subject to rethinking. Conclusions. «Abduction from the serial» V.A. Mozart belongs to one of those classic genres, which often become the subject of non-standard directorial interpretations. Free experimentation, which exacerbates the postmodern saturation of the performance, is distinguished, above all, by the festival performances «Abduction from the serial», while the traditionalism of reading the opera is more characteristic of the repertory theater. Among the reasons for such free interpretive-stage transformations that occur with the opera, and provide for its new reading, one can firstly name the organics of the comic opera, the conventionality of its plot, consisting of a complex of universal parody-grotesque formulas; and secondly, the formation of the concept of the contradiction of the visible and the sound that sounds like a combination of the terrible, sometimes, reality of the events taking place and the beautiful music of V.A.  Mozart.