Театральність як форма розвитку драматургії фортепіанних концертів Кармели Цепколенко

Abstract

У статті досліджено вплив театральності на розвиток драматургії та композиційної форми в концертах Кармели Семенівни Цепколенко. Розглянуто специфіку фортепіанного концерту, показано, що в концертно-симфонічній музиці принципи театральності розгортають мислення композитора до інструментального театру. Охарактеризовано експериментальні форми, нову техніку, засновану на нових уявленнях і відчуттях нового часу, де головними подійними моментами стає музична об’ємність і театральна насиченість.

В статье исследовано влияние театральности на развитие драматургии и композиционной формы в концертах Кармеллы Семёновны Цепколенко. Рассмотрена специфика фортепианного концерта и показано, что в концертно-симфонической музыке принципы театральности разворачивают мышление композитора к инструментальному театру. Охарактеризованы экспериментальные формы, новая техника, основанная на новых представлениях и ощущениях нового времени, где главными событийными моментами становится музыкальная объемность и театральная насыщенность.

The author considers the influence of theatricality on the development of the compositional form in Karmella Tsepkolenkos’ concerts. It is shown, that in concert and symphonic music, the theatrical principles turn the composer’s thinking towards the instrumental theater, wherein the musical outline of events doesn’t edge into the procrustean bed of the traditional, historically formed genres and forms, but turns the composer’s thinking towards the innovations, towards the creating of new forms and genres, appropriate to the scenario. In the piano concerts, the composer experiments, invents new technique, develops creative forms, based on new representation and sense of modern time, where the main event-trigger points are musical depth and richness of theater. One of the important elements of theatricality of piano concerts for the composer is a factor of individual time, when constitutional peculiarities of the compositions make the listener “leave” real time. The composer uses a “know-how” – the screenplay development in her creation, as the director’s decision. The composer considers the term “theatricality”, which is applied towards the music of concerts, primarily in terms of the specific artistic organization of the composition. In this regard, an internal, external and double form of theatricality can be distinguished. Internal theatricality fills the composition with the “characters” of actors by creating the act in the imagination of the audience. External theatricality creates the additional semantic layer of the composition through the plastic gesture, acting situation, trappings. The combination of internal and external theatricality in one composition creates a double theatrical reality. Detailed musicological analysis, carried out in the article showed that K. Tsepkolenko uses a variety of techniques for achieving her goal. They are serial, modal, sonorous, aleatory techniques, methods of reconstruction material. Creation of new techniques and technologies becomes a creative credo of the composer. K. Tsepkolenko has made a significant transformation in the familiar triad of the composer, performer and listener by using theatricality as a principle of artistic development of the musical material. The composer becomes not only the creator of the musical material, but also the director, who builds the material according to the laws of the theater.