PERFORMATIVE TRENDS IN CONTEMPORARY UKRAINIAN OPERA

Abstract

The purpose of the article is to conceptualise performativity in contemporary national opera. The methodology of the article is based on comparative principles, which involve a combination of cultural and systemic approaches, as well as musicological research strategies, in particular genre analysis. The scientific novelty is determined by highlighting the significance and specificity of performative trends in the contemporary interpretations of the opera`s genre model. Conclusions. It is emphasized that the conceptualization of performativity is associated with its acquisition of the status of an independent content-and structure-forming component of the genre model of opera, which serves to form its new perceptual horizons, intertextual dimensions and semantic multidimensionality, reflecting the postmodern revision of the significance of axiological landmarks, the processes of diffusion and transformation of genre model parameters, and the production of new genre formations. It is shown that in contemporary representation of operas by G. Rossini and D. Bortniansky, performative innovations ensure: the formation of timeless conceptual dimensions of works and their relevance to the paradigmatic landmarks of postmodernity; the clarification of the transformation of the structural parameters of the works shifts in the relationship between vocal and acting principles; the modulation of academic tradition into the space of mass culture; the actualization of the function of the vocalist as a carriertransformer of cultural codes. It has been found that the intensification of the performative component in contemporary interpretation of the genre model of opera in the works by V. Gubarenko, Ye. Stankovich, O. Kozarenko and Z. Almashi reflects the processes of genre diffusion and becomes an important means of: concept and structure formation; positioning the academic genre as a concentrated embodiment of national spiritual experience; creating a metaphorical, symbolic artistic space; representing hidden meanings. It has been shown that in the mono-operas by K. Maidenberg-Todorova and L. Yurina performative innovations are marked by: appeals to the codes of historical and cultural eras, which ensure the semantic multidimensionality of the works; the significance of non-academic means of expression, which level out the boundaries of academic vocals, give the vocalist the function of a directors and, in fact, co-author of the work, and also form new ways of artistic communication related to the modulation of opera from the academic space to the space of everyday life.