PROKOFIEV COMPOSER’S DIRECTION IN HIS OPERA «WAR AND PEACE»

Abstract

The article is dedicated to one of the most typical features of Prokofiev’s musical art: his talent as a stage director. A long-term practice and the concord with the film directors V. Meyer-khol’d, A. Tairov, P. Eisenstein assisted the development of the composer’s directing vision. Prokofiev’s special attention to a staging of theatrical genres shows up in a pre-sence of enormous amount of stage directions in the claviers of opera and ballet works. The musicologist M. Sabinina was the first who had shed light on director’s aspects of the composer’s art. To deepen and extend the understanding of the composer-director’s method of Prokofiev’s work we proceed from R. Berchenko’s research, in which the classification of the stage directions in M. Musorgskiy’s operas is presented and typical devices are being exuded. Making a start from the achievements stated in this work, we have carried out the analysis of notes of the Prokofiev opera «War and Peace» with attraction of concrete director’s receptions. In multidimensional dramatic art of the opera composer’s verbal comments became necessary "intermediary" between instrumental plan of action, existential movements of heroes on a scene and the characteristic of their emotional psychological states and relations with each other. Special attention of the composer to the exact embodiment of the main characters is traced in instructions in a clavier to actors not only on their timbre coloring voice, but also on its character (for example, Monsieur de Bosse is the tenor comic; Ivanov is the tenor shrill). In complete dramatic art of the opera are used such composer and director’s receptions as variation director’s technic or scenic horizontally mobile counterpoint, plastic contrast and musical overlapping, effect of a deserted scene, illusory space and illusory scenic time, collage, director’s perpendicular. To typical director’s means of the organization performance belong reception of a swing, brakes, hyperboles, agon, syntactic overlapping.