THE WALTZ GENRE IN THE XIX CENTURY OPERA: THE REALIZATION OF VARIOUS DRAMATURGICAL FUNCTIONS
DOI:
https://doi.org/10.32461/2226-3209.2.2019.177745Keywords:
the waltz, dance genre, ball, opera, dramaturgical functionsAbstract
The purpose of the article is consideration of specific features of the embodiment of the waltz genre and its various dramaturgical functions in the nineteenth-century opera. In connection with the statement of this problem, examples of the interpretation of waltz in the classical examples of operatic art in the history of the Ukrainian opera belonging to the specified period are analyzed. The methodology of the research is based on the application of the system-structural, historical and analytical methods, which made it possible to identify innovative methods of interpreting the waltz genre in opera, along with the traditional ones. The scientific novelty consists in considering the waltz as an internal genre element that significantly influences the dramatic art of the opera, and thus opens up the possibility of a new understanding of the integral dramatic art of the opera work. Conclusions. Contributing to the plot and conflict development, often contrasting with the dramatic action, the waltz genre in the XIX century opera transforms its artistic and figurative content. Realizing various dramatic functions, it creates a certain emotional background, models a certain social, domestic and national environment, space and time. Moreover, being an expressive means of imaginative characteristics, the waltz genre contributes to revealing the inner world of the characters, and can also perform the culminating function in the parts of the opera work. The expressive capabilities of the waltz retain their relevance, influencing the viewer’s perception in the works of the modern opera theater.
References
Васильева-Рождественская М. В. Историко-бытовой танец: Учеб. Пособие. 2-е изд., пересмотр. Москва: Искусство, 1987. 382 с.
Гадецька Г. М. Бальні танці як явище культури романтизму в творчій біографії М. І. Глінки : автореф. дис. на здобуття наук. ступеня канд. мистецтвознавства: 26.00.01. Київ, 2011. 20 с.
Єфанова С. О. До питання еволюції вальсу як різновиду бального танцю: історико-мистецтвознавчий аналіз. Вісник Національної академії керівних кадрів культури і мистецтв. 2017. № 2. С. 132–136.
Казначеєва Т. О. Феномен українського національного танцю в опері М. Лисенка «Енеїда». Міжнародний вісник: культурологія, філологія, музикознавство. Київ: Міленіум, 2017. Вип. I (8). С. 133–139.
Энтелис Н. Л. Пушкинский бал с описанием традиций и подлинными танцами. Санкт-Петербург: Композитор·Санкт-Петербург, 1999. 55 с.
Buckland, T. (2018). How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack. Dance Research. 36. 1–32.
Buckland, T. (2018). How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part Two: The Waltz Regained. Dance Research. 36. 138–172.
Grove G. Dictionary of Music and Musicians: in five volumes. New York-London: MACMILLAN & Co., Ltd. Vol. V. 1910. 745 p.
Kaznacheieva, T. National trends in the dance genres of polish and Czech opera of the period of the national school development. Вісник Національної академії керівних кадрів культури і мистецтва: наук. журнал. К.: Міленіум, 2017. №4. С. 168–171.
Simpson-Candelaria J. The waltz: its pervasiveness in the first half of the nineteenth century, and its transformation into a symbol of the Biedermeierzeit in the works of Joseph Lanner, Johann Strauss, and Franz Schubert. Published by the M. A. University of British Columbia, 1982. 129 р.
Snelson J. Waltzing down the years: the powerful symbolism of Vienna's defining dance URL: https://www.roh.org.uk/news/waltzing-down-the-years-the-powerful-symbolism-viennas-defining-dance.
Vasileva-Rozhdestvenskaya, M. V. (1987). Historical and household Dance: tutorial. Moscow: Iskusstvo [in Russian].
Gadetska, G. M. (2013). Ballroom dancing as a cultural phenomenon of romanticism in the creative biography of Mikhail Glinka. Extended abstract of candidate’s thesis. Kyiv [in Ukrainian].
Efanova, S. O. (2017). On the issue of the evolution of the waltz as a kind of ballroom dance: historical and artistic analysis. Bulletin of the National Academy of Cultural and Arts Management, 2, 132–136 [in Ukrainian].
Kaznacheieva, T. O. (2017). The phenomenon of Ukrainian national dance in the opera of M. Lysenko «Eneida». International Bulletin: Culturology, Philology, Musicology, Kyiv. Iss. I (8), 133–139 [in Ukrainian].
Entelis, N. L. (1999). Pushkin Ball with a description of traditions and authentic dances. St. Petersburg: Kompozitor Sankt-Peterburg [in Russian].
Buckland, T. (2018). How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part Two: The Waltz Regained. Dance Research. 36. 138-172 [in English].
Buckland, T. (2018). How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack. Dance Research. 36. 1-32 [in English].
Grove, G. (1910). Dictionary of Music and Musicians: in five volumes. Vol. V. New York-London: MACMILLAN & Co., Ltd. [in English].
Kaznacheieva, T. (2017). National trends in the dance genres of polish and Czech opera of the period of the national school development. Bulletin of the National Academy of Cultural and Arts Leaders, 4, 168-171 [in English].
Simpson-Candelaria, J. (1982). The waltz: its pervasiveness in the first half of the nineteenth century, and its transformation into a symbol of the Biedermeierzeit in the works of Joseph Lanner, Johann Strauss, and Franz Schubert. Published by the M. A. University of British Columbia [in English].
Snelson, J. Waltzing down the years: the powerful symbolism of Vienna's defining dance. Retrieved from: https://www.roh.org.uk/news/waltzing-down-the-years-the-powerful-symbolism-viennas-defining-dance [in English].
Downloads
Published
Issue
Section
License
Authors who publish with this journal agree to the following terms:
1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
