• Concertmaster’s and actor’s algorithm while working on the role-part in the tradition of Russian music theatre in the 20th century

УДК: 784+792.5

DOI: 10.35852/2588-0144-2022-2-140-151

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Mikhail V. Anestratenko

Cand. Sc. in Atrs, Stage director, Associate Professor
Institute of Modern Art
Moscow, Russia
E-mail: dragonamv@mail.ru

Concertmaster’s and actor’s algorithm while working on the role-part in the tradition of Russian music theatre in the 20th century

Abstract

The author of the article takes into the account his work as a stage director with the dramaturgy of the vocal material in the Russian music theatre, as well as the analysis of the rehearsal process of the famous theatrical figures on the music and text material of the opera. He reveals the specific features of the joint creative process of both the accompanist and the actor on the part-role in the process of creating an artistic images in an opera performance. It is analyzed the situation, common in the rehearsal process, when most practitioners in the field of performing arts focus on the final process of embodying the image of the character. Thus they miss the initial stage of preparing the actor for learning the music and poetic text. In the center of the article are systematic statements and recorded experience of working with the actors and accompanists of the chamber music theatre on the part-role of the famous practitioners of the Russian music scene L. A. Mogilevskaya and B.A. Pokrovsky. It reveals the connection of their directorial rehearsal methodology with the systematic works of F.I. Shalyapin and K.S. Stanislavsky. Developing N.I. Kuznetsov’s concept about the stages of careful studying of musical and textual opera material together with the accompanist, practical recommendations are given to novice singers, mature opera actors and teachers on the details of the interaction between the actor and the coach in modern realities. In many ways, they are based on the author’s own observations of the rehearsal process of the chief guest conductor Jan Latham-Koenig (Great Britain) at The Kolobov Novaya Opera Theatre of Moscow. The results obtained allow us to judge about the full involvement of world-famous conductors in the problems of the work of an accompanist and a professional vocalist. It is proposed to systematize the main stages of the opera actort’s work on the part-role. It is important to take into account the real theatrical experience and the requirements of the conductor in the perspective of the opportunities that open up before him in the process of cooperation with the accompanist at the opera stage.

Keywords

B.A. Pokrovsky, L.A. Mogilevskaya, concertmaster, vocal art, opera, Russian music theatre, musical theatre actor.

For citation

Anestratenko M.V. Concertmaster’s and actor’s algorithm while working on the role-part in the tradition of Russian music theatre in the 20th century. Theatre. Fine Arts. Cinema. Music. 2022, no. 2, pp. 140–151.

DOI: 10.35852/2588-0144-2022-2-140-151

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Received: 22.08.2021

Revised: 06.05.2022

Accepted: 13.05.2022