MISE EN SCENIC PRINCIPLES OF MODELING THE SPACE OF ENSEMBLE COMMUNICATION IN THE CONCERT AND FESTIVAL PRACTICE OF UKRAINE IN THE LATE XX – EARLY XXI CENTURIES
Journal Title: Актуальні питання гуманітарних наук: Міжвузівський збірник наукових праць молодих вчених Дрогобицького державного педагогічного університету - Year 2018, Vol 20, Issue 2
Abstract
In the late 20th and early 21st centuries, the chamber music of Ukrainian ensembles goes beyond historical mise en scenic norms to a space that, according to sociocultural purposes and functions, does not always fully correspond to generally accepted ideas about the academic conditions for performing presentations and the perception of works of chamber genres. Therefore, the topical task for art history is to study the processes of semioticization and aesthetization of the space of concert and festival activity, since the concepts of artistic and constructive modeling of some art projects approved in modern Ukrainian practice are experimental in nature and can provide a significant impulse for the evolution of performing forms and the meanings of chamber art. The purpose of this article is to study the modern aesthetics of ensemble creativity in the visual and acoustic aspects of performing and perception of the chamber pieces in the scenic conditions of the concert and festival practice of Ukraine at the end of the 20th – beginning of the 21st centuries. In the results of the research it is noted that in the sociocultural context of modernity the spatial-acoustic aesthetic sphere of the functioning of the genres of chamber music acquires a significant expansion. In the spatial organization of the con- temporary stage complex of ensemble performing activities in Ukraine, we observe a tendency toward multidirectional trends that serve to preserve the traditions of cultural and historical memory and, at the same time, their renewal through a return to historical space-acoustic models of ensemble communication and approbation of the newest scenic locations: small and large academic, temple, open-air, atypical mise en scene. These tendencies of semioticization of space demon- strate the organic adaptation of ensemble performance to ambivalent classical and nonclassical, elitist and democratic models of mise en scene orientation that influences the transformation of the basic principles of intra- and outward-en- semble interaction, and consequently contributes to the formation of aesthetic-semiotic, cultural-hermeneutic and spatial basis of the new system of artistic and creative communication in the musical culture of Ukraine of the late 20th – early 21st centuries.
Authors and Affiliations
Anastasia KRAVCHENKO
Keywords
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