Features of the vocal-scenic embodiment of the characters of the opera.

Особливості вокально-сценічного втілення персонажів оперного твору.

Abstract

The purpose of the article is to reveal theatrical-scenic principles and vocal-performing techniques that contribute to the embodiment of figurative characteristics of an opera character. The methodological basis of the article is historical and style, with special attention to the aesthetic origin of the opera and the semantic purpose of music, musicological analytical, theatrical and style approaches. The scientific novelty lies in the consideration of important vocal-performing, dramatic and theatrical scenic aspects of the embodiment of the character of the opera. Conclusions. Thus, when a vocalist works on creating an image of an opera character, one should take into account that the action is treated as a set of human reactions to circumstances, it is part of the action and is subordinated to its motive and purpose. But actions and movements in advance are usually not planned only in the ordinary reality; the stage life, on the contrary, presupposes in the performer deliberate reactions-deliberately visible movements and actions performed on behalf of the character with the sole purpose of revealing the conscious, unconscious or concealed motion of thought, the experience of the hero, that is, the invisible action. Consequently, only in the state of reincarnation of the singer-actor, managing his psychophysics, the character himself manifests an effective freedom.
Keywords: opera, opera character, stage image, theatrical scenic means of expressiveness.