Abstract: This article examines one of the most unique and widely known musical genres of the second half of XX century – instrumental theatre, which saw its bright implementation in the work on the renowned German avant-gardist Karlheinz Stockhausen. The author analyzes Stockhausen’s instrumental theatre – from using simple relocation of musicians and specific placement of instruments on the stage, to creating full-blown instrumental-theatrical spectacles. A special attention is given to the issue of interpretation and scenic re-creation of the instrumental-theatrical compositions. An attempt is made at a comprehensive study of Stockhausen’s instrumental theatre: the analysis of his oeuvres is aimed at determining the general regularities of the manifestation of this genre in composer’s work. The scientific novelty consists in the fact that until today they instrumental theatre of Stockhausen has not become the object of e dedicated close attention of art scholars. As the conducted analysis of his works demonstrates, his methods of creation of the instrumental-theatrical composition have significantly affected the evolution of the instrumental theatre as a genre, and broadened its genre aspects.
 

Keywords: art, musicology, synthesis of the arts, instrumental theater, Stockhausen, performance, syncretism, synesthesia, postmodernism, musical genre

References:
Shtokkhauzen K. Chetyre kriteriya elektronnoy muzyki. Per. s angl. V. Gromadina // Kompozitory o sovremennoy kompozitsii: Khrestomatiya / Sost. T.S. Kyuregyan, V.S. Tsenova. – M.: Nauchno-izdatel'skiy tsentr «Moskovskaya konservatoriya», 2009. S. 213-229.
Maconie R. The works of Karlheinz Stockhausen / With a foreword by K. Stockhausen. – Oxford University Press, 1976. 318 r.
Straebel V. «...that the Europeans will become more American». Gegenseitige Einflüsse von Europa und Nordamerika in der Geschichte der Musikperformance // Das Innere Ohr / Ed. by Thomas Dészy and Christian Utz. – Festivalbuch Linz, Austria, 1995. Rp. 80-94.
Shtokkhauzen K. Supragumanizatsiya. Nastupaet vremya, gryadet probuzhdenie (Otryvki interv'yu iz knigi «K kosmicheskoy muzyke»). Per. s nem. S. Tyulinoy // Slovo kompozitora: Sb. trudov RAM im. Gnesinykh. Vyp. 145. / Otv. red. i sost. N.S. Gulyanitskaya. – M., 2001. S. 51-55.
Savenko S.I. Muzykal'nye idei i muzykal'naya deyatel'nost' Karln-khayntsa Shtokkhauzena // Teoriya i praktika sovremennoy b

Abstract: Performance represents one of the major genres of art of the XX century. Its manifestation can be seen in literature, artwork, music, and theater. This article examines the historical roots of performance as a genre, which sprung in the syncretic ritual of ancient world, street theater, as well as art of Renaissance and Baroque eras. The author reviews the prolonged process of the ritual, commedia dell'arte, theatrical plays of da Vinci and D. Bernini in performances of the XX century. As an example, the author uses works of K. Stockhausen, I. Xenakis, J. Cage, L. Lipkis, and M. Dessi. Performance is being examined as a phenomenon of synthesis of arts, using the method of holistic analysis. Towards the end of the work, the author formulates a unified system for classifying performance that as it exists at the present time. An accent is made that all performances, in one way or another, in their implementation are based on intentional or unintentional epatage (element of shock), becoming the prerogative of a great number of works of art in the XX century.

Keywords: Synthesis of the Arts, postmodernism, sinesteziynost, performance, actionism, art history, genre, theatricality, ritual, music

References:
Petrov V.O. O sobytiynosti syuzhetov v proizvedeniyakh instrumental'-nogo teatra // Muzykovedenie. — 2011. — № 12.
Petrov V.O. Pod znakom performansa // Muzykal'naya akademiya. — 2012. — № 2.
Petrov V.O. Kheppening v iskusstve KhKh veka // Vestnik Kostromskogo gosudarstvennogo universiteta im. N.A. Nekrasova. – 2010. — № 1. Tom 16: Osnovnoy vypusk.
Nazaykinskiy E.V. Prostranstvennaya muzyka // Teoriya sovremennoy kompozitsii: Uchebnoe posobie / Otv. red. V.S. Tsenova. — M.: Muzyka, 2007.
Papenina A.N. Muzykal'nyy avangard serediny KhKh veka i problemy khudozhestvennogo vospriyatiya. — SPb.: Izd–vo SPbGUP, 2008.
Petrov V.O. Instrumental'nyy teatr: funktsii peredvizheniya ispolniteley // Aktual'nye problemy vysshego muzykal'nogo obrazovaniya: Nauchno-analiticheskiy i nauchno-obrazovatel'nyy zhurnal. — 2011. — № 2 (18).
Petrov V.O. Muzykal'nyy kheppening: estetika yavleniya // Filosofiya i iskusstvo: Materialy II Mezhdunarodnoy konferentsii / Otv. red. T.P. Zaborskikh. — M.: RAM im. Gnesinykh, 2013.
Petrov V.O. Novatorskie obr

Abstract: Performance represents one of the major genres of art of the XX century. Its manifestation can be seen in literature, artwork, music, and theater. This article examines the historical roots of performance as a genre, which sprung in the syncretic ritual of ancient world, street theater, as well as art of Renaissance and Baroque eras. The author reviews the prolonged process of the ritual, commedia dell'arte, theatrical plays of da Vinci and D. Bernini in performances of the XX century. As an example, the author uses works of K. Stockhausen, I. Xenakis, J. Cage, L. Lipkis, and M. Dessi. Performance is being examined as a phenomenon of synthesis of arts, using the method of holistic analysis. Towards the end of the work, the author formulates a unified system for classifying performance that as it exists at the present time. An accent is made that all performances, in one way or another, in their implementation are based on intentional or unintentional epatage (element of shock), becoming the prerogative of a great number of works of art in the XX century.

Keywords: Synthesis of arts, postmodernism, synthesizing, performance, performance art, art history, genre, theatricality, ritual, music

References:
Teryokhin, A.V. Social and Philosophical Aspect in the M.M. Bakhtin’s Concept of the Folk Humor Culture // Art of the Twentieth Century: Paradoxes of the Culture of Laughter: Col. Works.-Nizhny Novgorod, 2001.
Petrov, V.O. Epatage in the Art of the Twentieth Century // Culture and Art.-2013. – No. 6.
Sigida, S.Y. Musical Culture of Europe. The Second Half of the Twentieth Century. Great Britain // The History of Foreign Music. XX Century: Textbook / Ex. Ed. N.A. Gavrilova.-M.: Music, 2005.
Petrov, V.O. Happening in the Art of the Twentieth Century // Bulletin of the N.A. Nekrasov Kostroma State University. – 2010. — No. 1. Vol. 16: Main Issue.
Petrov, V.O. Under the Sign of Performance // Academy of Music.-2012. – No. 2.
Petrov, V.O. About Eventful Plots in the Instrumental Theater Works // Musicology.-2011. – No. 12.
Petrov, V.O Pioneering Art Images in the Twentieth Century: From the Perspective of Epatage // Culture and Art.-2013. – No. 5.
Petrov, V.O. Musical Happening: Phenomenon Aes

Abstract: This article features the first study of the interpretation of Christian ideas in works for the musical theater created by French composers of the XIX - XX centuries; the main attention is paid to the works of the prominent composer, theorist, organist, teacher and public figure V. d'Indy (1851 – 1931), whose operas (Fervaal, 1897 and L’Étranger, 1903), state the ethical values of Christianity. The principles of complex analysis of the art concept from the peak of the composer’s creative evolution are distinguished by their novelty – a major musical and theatrical work, Legend of Saint Christopher (1920). The composer/librettist d'Indy borrowed this consideration of "biography" genre semantics from Golden Legend – the monument of Catholic Christianity of the XIII century: the principles of composition and the peculiarities of the musical dramaturgy of the work. The dramaturgy of “French musical drama” by V. d’Indy is described as a phenomenon of the new synthesis of the arts in the cultural space of France, whose opening in the field of musical theater was committed by such major composers of the XX century as Claude Debussy and Igor Stravinsky. The author of the article grounded the topicality of the suggested spiritual content of the “mystery-drama” (sacred drama) by d'Indy for the modern man in search of Faith, Hope and Charity. The article provides a conclusion about the specifics of interpreting V. d'Indy’s ideas of Christianity, consisting of a dynamic, vibrant and socially sharpened broadcast of ethical tenets of the Christian faith by the composer from the stage of musical theater.

Keywords: Christianity, ideas, French musical theater, miracle, legend, opera, oratorio, Saint Christopher, martyrdom

References:
Berlioz Hector. L’Enfance du Christ. Trilogie Sacrée. Paroles de Hector Berlioz. – Complete score. Leipzig: Breitkopf & Hӓrtel, 1900-7. – 174 p.
Berlioz Hector. La Damnation de Faust. Légende dramatique en 4 parties. Poème de H. Berlioz, L. Gandonnière et Gérard de Nerval. Complete score. Reprinted edition. New York: Edwin F. Kalmus, (after 1933). – 432 p.
Bukofzer M. The Music in the Baroque Era from Monteverdi to Bach. New York: Nor¬ton & Co, 1947. – 489 p.
Carr Maureen A. Multiple masks. Neoclassicism in Stravinsky’s works on Greek Sub¬jects. University of Nebraska Press Lincoln and London. 2002 – 368 p.
Combarieu J. Histoire de la musique. T. III . Paris, Librairie Armand Colin, 1919. – 667 p.
D’Annunzio G. Le Martyre de Saint Sébastien // L’Illustration théâtrale. Paris ; Mai 1911.
Debussy Claude. Le Martyre de Saint-Sébastien. Mystère en cinq actes de Gabriele d’Annunzio. Partition pour chant et piano. Transcription par And

Abstract: В статье впервые исследованы особенности интерпретации идей христианства в произведениях для музыкального театра, созданных французскими композиторами XIX – XX веков; основное внимание уделено творчеству выдающегося композитора, теоретика, органиста, педагога и общественного деятеля В. д’Энди (1851 – 1931), оперы которого («Фервааль», 1897 и «Чужестранец», 1903), содержат утверждение этических ценностей христианства. Новизной отличаются принципы комплексного анализа художественной концепции вершины творческой эволюции композитора – крупного музыкально-театрального сочинения «Легенда о Святом Христофоре» (1920). Это рассмотрение жанровой семантики «жизнеописания», заимствованного композитором/либреттистом д’Энди из «Золотой Легенды» – памятника католического христианства XIII века; принципов композиции, особенностей музыкальной драматургии произведения. Драматургия «французской музыкальной драмы» В. д’Энди охарактеризована как явление нового синтеза искусств в культурном пространстве Франции, открытие которого в области музыкального театра было совершено крупнейшими композиторами XX века – К. Дебюсси и И. Стравинским. Автором статьи обоснована актуальность идей духовного содержания «драмы-мистерии» (священной драмы) д’Энди для современного человека, находящегося в поисках Веры, Надежды и Милосердия. Сделан вывод о специфике интерпретации В. д’Энди идей христианства, состоящей в динамичной, яркой и социально заостренной трансляции композитором этических постулатов христианской веры со сцены музыкального театра.

Keywords: Khristianstvo, idei, legenda, opera, oratoriya, V. d’Endi, Svyatoi Khristofor, muchenichestvo

References:
Meyerbeer G. Les Huguenots. An opera in five acts with Italian and English text. Vocal score. Kalmus, Alfred Publishing Co., Inc. – 500 p.
Messiaen О. Saint François d'Assise (Scènes Franciscaines). Opéra en 3 Actes et 8 Tableaux. Poèmes et Musique d'Olivier Messiaen. Acte I-2e Tableau. Les Laudes. Éditions Alphonse Leduc. 1991. – 244 p.
Messiaen О. Saint François d'Assise (Scènes Franciscaines). Opéra en 3 Actes et 8 Tableaux. Acte III-8e Tableau. La mort et la nouvelle vie. Éditions Alphonse Leduc, 1990. – 202 p.
Messiaen О. Ariane et Barbe-Bleue. // La Revue Musicale – Mai-Juin,1936. – 136 p.
Messiaen О. Saint François d'Assise (Scènes franciscaines). Opéra en trois actes et huit tableaux. Libretto, Éditions Alphonse Leduc & Cie, 1983.-159 p.
Massenet J. Le Jongleur de Notre-Dame. Miracle en 3 actes. Poème de Maurice Léna. Paris, Copyright by Heugel et Cie, 1901. – 200 p.
Massenet J. THAȈS. Comédie