Dialogical Nature of L.V. Sobinov's Performing Activity
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Abstract
The historical and dialogical method of research makes possible to comprehend the socio-cultural context of the great performer L.V. Sobinov activities. The purpose of the study is to consider L.V. Sobinov’s performing activities from the standpoint of the dialogic interaction of an opera house artist with partners, a director, and the audience in a performance. The process of L.V. Sobinov’s work over the role consisted of three components: the variety of possible performance within the musical text of one or another aria; thinking over musical, scenic means of expressing the content of the opera part; overcoming literary textual limitations based on the flexibility of the musical language and the accuracy of interpretation. In the article, the author identifies the main stages of the performing creative process: the process of interpreting the artistic image on the basis of the internal dialogue “I” – “I am a character”; discovering the value meanings embodied by the composer in the aria. L.V. Sobinov reached the performing arts tops, singing voice perfect mastery, bel canto techniques, intonation accuracy and expressiveness. The great singer claimed that the voice is inseparable from the spiritual “I” of the individual. In the roles of Lensky, Levko, Berendey, Orpheus, Lohengrin, Alfred, Faust, Werther, etc., were shown L.V. Sobinov’s performing skills, his virtuosity, deep immersion in the performance, the transfer of the psychological characteristics of the character, the subtle ability to feel a stage partner and other.
Keywords: L.V. Sobinov, outstanding singer, performing activity, opera, dialogue, stage, artistic image, interpretation, director, listener.
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