FOLKLORE INTONEME AS A DRAMATURGICAL ASPECT OF THE DESIGN OF CONTEMPORARY THEATRE PERFORMANCES

Abstract

In contemporary Ukrainian theatre, musical accompaniment using folk intonations has become a special component of stage dramaturgy. In the context of the Russian-Ukrainian war, Ukrainian musical folklore has come to be seen as an intonational code of national identity and an important factor in the artistic integrity of theatrical performances. The purpose of this article is to substantiate folk intonations as an intonational and dramaturgical aspect of contemporary theatre performances and to determine their place and role in stage practice. The research methodology is based on a comprehensive combination of systemic and interdisciplinary approaches, which allow us to consider folk intonation as a structuring factor in the musical design of contemporary theatre performances. The work uses a historical and cultural method to analyse the transformation of theatre from 20th-century totalitarianism to the present day, an analytical and interpretative method to elucidate the symbiosis of music and stage action, and a semiotic and structural-functional approach to analyse the role and place of folk intonations in the dramaturgical organisation of performances. The empirical basis is the analysis of specific theatre practices (the folk workshop “Ethno-theatre “Choven” by R. Korniyenko; the theatre centre “Word and Voice” by S. Kovalevich and N. Polovinka; the contemporary opera laboratory “Opera Aperta” by R. Grigoriev and I. Razumeiko), which made it possible to trace the mechanisms of transformation of traditional musical material in the conditions of the modern stage space and to substantiate its intonational and dramaturgical potential as a conceptual principle of the organisation of the musical and stage whole. Scientific novelty: it has been revealed that folklore intonations are structure-forming intonational and dramaturgical factors that contribute to the organisation of tempo-rhythm, accentuate the composition and emphasise the semantic dynamics of a theatrical performance. Conclusions. Folklore intonations are substantiated as a dramaturgical aspect of contemporary theatre performances. It has been proven that folklore intonations are a structuring factor of stage action, enhancing the tempo-rhythm, composition and semantic dynamics of a theatrical production. It has been established that in the process of stage adaptation, traditional folklore material is transformed, retaining its archetypal semantic core and acquiring new artistic functions. It is generalised that the intonational and dramaturgical potential of folklore intonation contributes to the integrity of the musical and stage image and actualises the national cultural code in the contemporary theatrical space