The performing arts of China in the dialogue of cultures as an example of the opera “The first emperor” by Tang Dung

  • Zhang ZONGRUI Sumy State Pedagogical University named after A. S. Makarenko
Keywords: intercultural dialogue, stage art, European opera art, Chinese opera art

Abstract

In the context of the formation of the stage culture of China, a certain ritualism arises in its functioning. First of all, this is explained by the tendency to preserve one's own unique cultural and artistic codes, which are the carriers of the nation's philosophical outlook. It is emphasized that there are certain differences between the development of European stage art and Chinese stage art, which primarily lie in different cultural and historical prerequisites of development. At the same time, similar components are singled out in the reasons that prompted the renewal and creation of intercultural dialogue (the search for a new artistic language, new means of expression, etc.). The dialogue between the cultures of the West and the East is considered from the standpoint of the mutual influence and interaction of the leading cultures of the two artistic worlds. In stage art, a genre of theatrical-musical action is singled out, namely, operatic art, which actually allows overcoming conventions regarding the perception of any artistic phenomenon. The appeal to Tan Dun's work is justified by the fact that his opera “The First Emperor” can be interpreted as a conceptual and holistic phenomenon, which is based on philosophical thinking in accordance with Confucianism – “one plus one will be one” – demonstrates a vivid example of the formation of a new artistic product from positions of interpenetration, interaction and assimilation of various stylistic components of East-West art. Tan Dun is one of the brightest representatives of the Asian avant-garde and the Chinese “New Wave”, combining national traditions and the phenomena of modern Western art in his work. The conclusions state that the composer synthesizes Western opera and jingju at the level of language (Chinese, English), stage design, type of characters and actors, and musical features in terms of vocal and instrumental performance.

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Published
2023-04-02
Section
MUSICOLOGICAL STUDIES