Process of creation of monoopera according to the plan of complex interdisciplinary analysis (E. Prikhodovskaya the "Novice")
The plan of the complete interdisciplinary analysis of the monoopera is subdivided into three blocks answering to plurality of components of the synthetic text of the monoopera offered. Only synthetic text of monoopera irrespectively of data, of the author, of creation history, etc. acts as an object of research here (by analogy with the anonymous manuscript). Such approach allows to reveal specific intra text regularities of monoopera. The plan of complex interdisciplinary analysis of monoopera: Semantic block 1. Factual data on the character + external plot, archetypic/mythological roots of an image. 2. Internal plot: psychological events. 3. A place of external alarm system in an internal plot. 4. Conclusions: semantic area. Language block 1. Means of expressiveness of opera vocals in this text. 2. Means of expressiveness of symphony orchestra in this text. 3. Relief of language centration. 4. Conclusions: dynamic schedule of a vocal and symphonic language integrative. Structural block 1. Interaction of three algorithms (SDA) in the structural and dramaturgic organization of this text. 2. Intonational and thematic framework of the text (its communication with the emotive plan) + dynamics of development of a thematic organization of the text. 3. Text model attractor. 4. Conclusions: structural and dramaturgic diagram. The Analysis/modelling of yet unfinished monoopera the “Novice” is offered. Stages of this analysis are synchronized with stages of creation of the text, that is the analysis = modeling = the prognosis of these or those characteristics of the work. The emphasis is placed on counter intensions of language - logical “prespecification” of a number of composer decisions are revealed. The shaping is also logically “prespecified” and relies on the principles of functionality of a musical form. As the text isn't created yet and is created in the course of the analysis/modelling/ prognosis, possibility of differentiation by the composer of own “free” will and logical “prespecification” of these or those elements of the text takes place. First of all, it is necessary to designate the general approach to the text primary source: the composer doesn't look for ways to a musical embodiment of the text primary source, he creates new, his/her own text. The text primary source is independent and self-sufficient, it doesn't demand “intervention” of musical means of expressiveness, based on those - verbal - means which are put in it by the poet. Besides, new - the synthetic text significantly differs from the text primary source in volume: it has to be much less, considerably more “centered” as it will be perceived “by ear” and exclusively procedural, chronologically irreversible (unlike the written text of primary source). Therefore, the new text has to possess its own structure, its own semantic reference points. At this stage still there is no “preset”; judgment of the emotive plan of the text is an expression of e the specific will of the author (in this case - the author of the new text, the composer). At predicting/modelling of the text according to the plan of the complete interdisciplinary analysis the main contours of specific decisions on semantics, structure and language are outlined. A number of more private questions connected with each episode is solved in the course of composer’s work on the score. However this work can be conducted according to the ready-made plan, counting on delineation of these or those concrete means which have already revealed the emotive characteristics what makes the creative work more aim oriented and productive. Spontaneity of creative searches and decisions is justified in small forms (in this regard as mild analog of a small form each concrete episode acts) whereas in large genres (to which, owing to the synthetic properties and scale, the monoopera belongs) demand bigger reasonableness for dramaturgic alignment and more detailed preliminary plan.