Performative Practices in Contemporary Opera

Abstract

The purpose of the work is to identify the mechanisms of the transition from the representation of a musical text to opera as a live performative event, where meaning is created in the interaction of sound, space, body and media. The methodological basis of the work is an interdisciplinary approach that combines musicological analysis with theories of performativity, cultural studies, and modern theatre studios. The scientific novelty lies in identifying the transition from the music-centric semiosphere of opera to an interdisciplinary system of artistic meanings, in which voice, corporeality, stage action and digital environment become equal. Conclusions. Performativity in contemporary opera art indicates a deep transformation of the genre: from the representation of a musical text to a live artistic event, in which meaning is formed in the process of interaction between the performer, space, audience and technological environment. The singer appears not only as a carrier of vocal technique, but as a performer, whose bodily presence, movement and stage action become equal components of artistic expression. Performative logic changes the very structure of opera dramaturgy, contributing to the fragmentation of the narrative, open composition and the growth of the role of improvisational and visual components. An important factor in these changes is the introduction of digital technologies, which transform the stage into an interactive environment and form new meaningful layers of the opera event. Multimedia solutions, video projections, electronic music and interactive systems are no longer decorative additions, but act as full-fledged dramaturgical elements. Thus, performative practices become one of the key mechanisms for renewing the opera genre, contributing to the expansion of its aesthetic boundaries, changing the role of the performer, rethinking the stage space and actively involving the viewer in the artistic process.