Abstract: The subject of this research is the opera libretto, its importance, role and place in the process of staging a spectacle. The author emphasizes that opera libretto cannot contend for priority in interpretation of the initial literary material, or life story, because it is created only under the influence of a composer who writes the music for the opera. The opera libretto in the literary text is oriented on the idea of a composer, rather than a librettist, the idea that is placed in the score. Thus libretto can never become an independent carries of the opera plot, and the director of a play cannot base on the storyline captured in the libretto. For preparation of this research the author studied a large volume of literature dedicated to the issue of libretto writing, as well as the problem of realization of composer’s idea in opera theatre. The growing trend towards modernization of libretto via rewriting of the historical classical text, created in union with the composer, can result in the perishing of the very form of the art of “opera spectacle”. In an attempt to make the opera “more acceptable” for the modern audience, the librettists strive to endow the plot with “modern” “entertainment”, and in doing so, destroy the very goal and purpose of the opera work.  

Abstract: The subject of the research is the interpretation of the mechanism for interpreting the author's content in directing. Particular attention is paid to the exact distinction between "art" and "life". The author specifies the fundamental differences between these two concepts and expressed the idea of inadmissibility of "copyism" on stage. It is shown that "art"  is a special type of "the mounted object" that is based on a number of concepts emerging in the unity of ideas. It is emphasized that idea is the organizing structural principle of an artificial object, the author also shows in detail how and by what means a 'physical object' turns into 'artificial'. It is emphasized that the author's intent is the "first-level" interpretation of life, and directing is the "second-level" interpretation of life.  The article provides a thorough theoretical analysis, which allows to highlight certain aspects, features, aspects and operations of the mechanism of interpretation. In addition, the author studies examines literature on the theory of drama and opera directing (a small part of which is shown in the list of references) with a detailed note-taking and citation. Analysis of a large body of classical theoretical literature on the theory of the active analysis of the play, as well as modern materials of the periodical press allows to establish that over the past thirty years nothing substantial has been done in the sphere of directing theory. The academic community has not created any new concepts, neither has it clarified a specific active analysis of the play or director's script. In particular,  the mechanism of the director's interpretation of the author's dramatic material, the way of its functioning in the production of the play have never been fully described or revealed. This gives rise to a huge number of loose interpretations in directing practice and leads not only to the distortion of the original intent of a playwright or composer, but also allows the filmmakers create their works with a very significant distortions of the raw material, as well as to use the play or director's script only as a pretext for their own, very arbitrary, "avant-garde", i.e. unfettered imagination. 

Abstract: The subject of this research is the key notions of the method of active analysis of the “event” and the “conflict fact” as instruments of director’s active analysis of a play or the opera score. At the same time, special attention is given to the development of accurate definitions for each notion for the purpose of their accurate distinction. The author points out that the “event” and the “conflict fact” belong to the different stages of staging a spectacle. “Event” is necessary on the stage of conception and “table period” as instrument of dividing the plot on pieces (for the purpose s determination of motivational goals of the actions of characters), while “conflict fact” is needed on the stage of realization, in the process of working on a scene (etude) for determining an action (direct “irritators” for the emotional reactions of the actor that manifest in the physical action) within the “piece”, defined by “event”. It is demonstrated that the shift of these notions produces confusion in terminology, as well as deprives this method from its practical application by making it too massive. The author conducts a thorough examination of literature of the classicists of director’s active analysis in the drama and opera theatres, as well as the theory of drama and opera direction with the detailed quoting and note-taking. The essence of the late XX century discussion of the “event” and the “conflict fact” is being explored.