Opera model-attractor as a final stage of the composer's work on a creative project

The purpose of the author of the article is to state a hypothesis covering the final stage of the creative process of a composer and the properties of the synthetic text of the opera. The concept of a model-attractor, where the term "attractor" is borrowed from the synergetics and understood as a phase portrait of a system - the synthetic text of the opera, is offered. The complete model-attractor being the phase portrait of a complex dynamic system of the synthetic whole of operas arises at the final stage of the creative process of the composer. The syncretic nature of the initial plan is embodied in the synthetic integrity of the arising text. This stage is the stage of formation of the fixed text (the score, the clavier). For the creative process of the composer, the stage of the written fixation of an opera is final, total; at this stage the multiple hypotheses and plans functioning as a part of the creative process find a final choice of their contamination and specifics. Whereas in the creative processes of the director, singer, decorator, etc., the fixed text of the opera, on the contrary, is the "starting point", the initial position containing the potential of future readings and interpretations. Thus, it is necessary to remember that the opera is available for the addressee (the listener, the viewer) only in the form of the audiovisual integrity realized on a stage (or on the screen); the fixed synthetic text of the opera (the score, the clavier) serves only as an auxiliary, but not final "abutment" in the course of formation of this audiovisual whole. That is why the written fixed synthetic text of the opera can be viewed as a period of the smallest entropy. The opera model-attractor, owing to the synthetic character of the genre and poly-aspectness of the phase portrait of the system, includes some directions of realization and development of the system reflected in the fixed synthetic text. Two complexes making the model-attractor are distinguished: 1) musical and verbal text, 2) visual parameters. Visual parameters, respectively, are present in the fixed text of the opera in the form of author's notes. In spite of the fact that author's notes in a clavier (score) are expressed by verbal means, they should not be considered as a part of the musical and verbal text, as in audiovisual (directly turned to the addressee) form they are realized as visually perceived details. A detailed classification of visual parameters on random examples from the clavier of the opera of N. Rimsky-Korsakov "The Tsar's Bride" is made in the article. Visual parameters make a separate layer of means of expressiveness coming into contact with the musical and verbal text in the course of formation of the synthetic unity of the opera.

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