On the criteria of genre classification of operas

The relevance of the article is caused by the need of modern art criticism for a formulation of certain new principles of classification of operas which could cover a set of embodiments of the genre, both past and future ones. The genre, according to the author, is not a local formation with accurately outlined borders and a "list" of properties, but is a kind of a "core" round which the indistinct area of variable embodiments is formed. Historical ways of development of these or those genres show their interaction with other genre areas: the genre versions whose characteristic features are caused by "invasion" of alien elements are formed. Round the "core" a "cloud" area of the attractions providing contacts of one genre with others is formed. Any historical modifications of a genre leave the "core" untouched and its existence allows to call this work relating to this or that genre. Let us denote the "core" as the genre invariant remaining invariable in any style and epoch-making conditions, allowing to "recognize" belonging to a certain genre sometimes in the most unexpected perspectives. One of the central premises of this position is seeing the genre as a purely intra-language category not covering semantic and ideological layers of work. The genre just like language means of expressiveness predetermined by genre belong rather to the sphere of expression, than to the sphere of content. The plot is an extra-language phenomenon and has an equal potential of realization in various language systems. Intra-lingual specifics of genre is concentrated round the questions of dramaturgic development of the text. In this aspect the traditional triad the epos - the lyrics - the drama gets another "tilt angle" connecting it with all-philosophical ways of development of thought or - in the context of adaptation to the art text - methods of development of material. The method of development of a material can be defined as a complex of internally interconnected and interdependent algorithms by means of which integrity of the synthetic art text will be organized. The genre invariant has a unique range of language means, distinguishing it from other genres. The role of a language range, whose configuration and whose way of interaction of elements in the concrete text are predetermined by a method of development of a material, is designated in the article as counter intentions of language. Genre invariant is a number of algorithms of development of a material and a unique range of language means. Respectively, genre is a way of the structural and dramaturgic organization of the art ensemble, defining specifics of interaction in its language elements. Then the genre of the opera is qualified as a certain specific structural and language formation possessing structural potential and a unique language range characteristic only for the opera.

Keywords

Authors

References