Театралізація – основна складова музики К. С. Цепколенко для дітей

Abstract

У статті досліджено проблему театральності в музиці К. С. Цепколенко для дітей як одну з визначальних рис художньої реальності композитора. Розглянуто специфіку театральності, яка стає потужним каналом прояву творчої індивідуальності в жанрі дитячої музики. Охарактеризовано основні принципи музичного розвитку дитини в умовах театралізації процесу навчання.

В статье исследована проблема театральности в музыке К. С. Цепколенко для детей как одна из определяющих черт художественной реальности композитора. Рассмотрена специфика театральности, которая становится мощным каналом проявления творческой индивидуальности в жанре детской музыки. Охарактеризованы основные принципы музыкального развития ребенка в условиях театрализации процесса обучения.

The author considers theatricality of K. S. Tsepkolenko’s music for children as one of the defining features of the composer’s artistic reality. Theatricality becomes a powerful channel of manifestation of the creative individuality in the genre of children’s music and defines all the basic parameters of music for children as an immanent feature of the composer’s thinking – the style, form, imagery, design, etc. Special relief, convexity of the artistic images, which are contained in the cycle are connected to theatricality. In the article it is mentioned that one of the main features of K. S. Tsepkolenko’s music for children is a special form of building of musical structures, which is expressed in the contrast of the material, installation of the composition, «visibility» of images, detachment, picturesqueness of the narration. The usage of the systems of multilayer art space, application of the principles of intertextuality, dialogue of external and internal promises, free deployment and coagulation of the layers of artistic space in its different parameters approximate music to the living organism that possesses the features of vitality and love of life. Mummery fascinates the imagination of the composer and directs it into the stream of psychologization of the events, role-playing games, dialogic confrontation and promotion in plays for children. Linearity becomes a way of objectifying theatrical roles, images and forms of their existence in plays for children. The composer experiments, invents new technique, develops original forms based on the children’s views and perceptions of modern times in the plays for children, where the main event-trigger point is musical depth and richness of theater. While learning the play, the pupil and the teacher make a small performance every time. Initially, the roles are distributed in such a way, that the teacher takes all the technological part, leaving the child some space for improvisation. The «theme» of the game is the mood of the child. The child expresses his mood through sounds with the help of the teacher. The play itself is like a scheme of the creation of a collective improvisation on the emotional state of the student. During the development of the play, the little musician declaims and plays in clusters, and the teacher completes the picture of emotional state by playing the piano (if necessary, he uses other small drums, block flutes, etc.). Gradually, the child moves to more complicated tasks by performing small plays, mastering the principles of staging and roles. Gaming situation deprives a child of stiffness, fear, he is not afraid to do something wrong and intuitively finds the movements that are needed to retrieve the sound which is appropriate for the mood. Perhaps, this is one of the main postulates of performing piano stylistics in K. S. Tsepkolenkos’ compositions for children – the sound is born by mood, artistic reality, not vice versa – a certain sequence of sounds is memorized mechanically, and then a certain mood is «put on» this «scheme». The child is gradually attached to the world of emotions, «cleaned» of his selfishness, to the world of aesthetic emotions. Here, the sphere of experiences of a little artist is met by many transformations – through his own drawing of color, composition of a tale or creation of his own version of the tale, through creation of nonsense, and, finally, through his sound, his expression of mood by the sounds. In this case, theatricality covers all spheres of activity of the childactor. He acts as a designer, director, and, in fact, as an actor, composer, scenographer and scriptwriter. In a cooperative creativity with a grown-up, the child finds his form of sound, his vision as a graphic designer, his understanding of the general concept as a director, etc. This form of cotheatricality, mixed on the emotions of fabulous reality, personally created range of color, sound, dramatic impersonation leads the child straight to the creation of an individual artistic image and artistic sense of the world. The article shows that these plays are an example of how it is necessary to organize the artistic reality and to enter it with the child. This kind of music can be created only when you are in the fullness of sound, color and artistic impressions. Certain complexity of these plays is that the creative search of an adult artist has to be determined by the actions of a child, and the baby should comprehend the wisdom of piano playing with the adult in a game situation. According to K. S. Tsepkolenko’s concept, musical education and teaching should proceed from game-theatricality, from the development of musical language, not vice versa. Therefore, while creating a musical material for «Artistic games», the composer created conditions in her plays, so that the child, with the support of the teacher, formed the basis of his aesthetic emotions, being in the zone of «proximal development» (terminology of L. S. Vygotsky), without thinking of the musical language and technology. The musical material, designed for the student is presented not as a melody to memorize and then to play, but as a hint, an indication for a student who has to «create» by himself in accordance with his feelings, desires, aspirations, and, of course, with the active support of the teacher. Therefore, the form of dialogue is chosen for the presentation of the musical material. But it is not the ensemble in the usual sense. The musical part of the student is suppositive and directs him to spontaneous creation of sounds. Piano part of the teacher can also be complemented by elements of improvisation in accordance with the artistic necessity. On this basis, each play may vary repeatedly. Each of them is the result of common efforts, impulse, the starting point from which music flows, generated by the imagination and fantasy of the teacher and student. At the same time, any of the piano plays can be performed and learned without improvisational changes.