EMOTIVE-AXIOLOGICAL APPROACH IN MUSICOLOGY AND MODERN THEORY OF OPERA EXPERIENCE

Abstract

In the context of the art of vocal and stage performance, the issues of the influence of the musical factor on the process of impersonation of the singer-actor, the existential nature of the art of impersonation, the psychological mechanisms of understanding and appropriation of the text-consciousness of the character by the performer, the processuality of experiencing as an activity of the opera performer and character, musical stage images and forms are touched upon, along with the issues of internal and external action of the character, modality factors of vocal intonation, including the expected circumstances of the role. The syncretism of the opera text as an integral interdeterministic system of stage action meaning, which has an emotional impact on the audience and performers through all three channels of communication - visual, auditory, and verbal, makes it possible to define the opera within the framework of emotionalology as a new branch of social psychology. An attempt is made to show that personal and collective emotions generated by an opera performance are decisive in a syncretic opera text.