Documentation Activities in the Opera Theater of the Turn of the 20th and 21st Centuries: Concerning the Issue of Formation
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Abstract
on musical theater in the second half of the 20th century. Within the framework of the artistic
experiments of the 1960s and 1970s a special place has been taken by search of diverse means
of work with reality. The swift changes in society connected with the mass protests against war,
capitalism, sexual and racial inequality, activated the interest of the artists of Western Europe
and America to the issues of social, political and economic character. With the aim in mind of
understanding the nature of musical documentation activities, the article researches the endeavors
of documentary film and documentary dramatic theater and discusses the questions of terminology
and the essence of the concept of a “document” in relation to art. The author of the article traces
the evolution of the directedness of the research of the phenomenon from the inclination towards
a maximal authenticity to freer artistic means of work with documented materials. Examination is
made of the issue of criteria, which make it possible to relate some musical theatrical composition
to the domain of musical documentary theater. By the examples of the operatic compositions of
John Adams, Eric Salzman and Steve Reich the question is raised about the dramaturgical and
compositional peculiarities of the musical-theatrical documentation activities.
The publication is prepared within the framework of scholarly project No. 17-04-00198-OGN
supported by the RFFI.
Keywords: musical theater, documentary theater, Steve Reich, John Adams, Eric Salzman, art
and society.
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References
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