About the “Operatic Qualities” of Pushkin`s Dramaturgy
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Abstract
The fate of Pushkinʼs drama heritage was paradoxical. All of his six big and small tragedies were not a success on the Russian drama stage of the 19th century. They were rarely on and the lack of success reinforced the widespread opinion about the fundamental unsuitability of Pushkinʼs dramaturgy for the stage. At the same time, the Russian Musical Theatre enthusiastically received the poetʼs dramatic works. Through the efforts of outstanding opera composers, all works were vividly embodied, and each of these embodiments opened up new paths in Russian operatic art. The author of the article seeks to understand the deep reasons for this paradox, the total immunity of the 19th century drama theatre to Pushkinʼs tragedies and, on the other hand, the absolute inclination of the operatic theatre to them. In his search for an answer, he concludes that these reasons were largely general. The intense concentration and compactness, the laconicism and density of the content, the semantic richness of each word demanded a special theatrical aesthetics, which the Russian drama theater had not mastered yet. Apparently, by the power of his genius, Pushkin anticipated a certain hypothetical theatre of the future. But it is precisely such literary material that opera composers have always looked for, considering it the highest merit, and it is no coincidence that none of them, speaking about Pushkinʼs drama, resorted to the help of librettists. The article reveals the qualities of the drama that have opened up vast spaces for musical embodiment, gradually guiding the hand of composers. The author shows how the lexical and intonational characteristics of Pushkinʼs texts laid the foundation for the discoveries of composers in the field of musical declamation, how richly and varied they laid the prerequisites for the construction of complete operatic forms.
Keywords: Pushkinʼs dramaturgy, Russian Drama Theatre, Russian Opera, libretto, musical declamation, operatic forms.
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