Directing choral scenes in opera: 1907-1917

The article is devoted to the question of studying the experience of stage directors-innovators ofprerevolutionary Russia: P. Olenin and I. Lapitsky. The author examines the historical impact of directing drama on the general ideas ofthe formation and development of the stage directing principles in opera theatres in Russia. The subject of study are performances inMariinsky and Mamontovsky theatres directed by Olenin and Lapitski. The author discusses the method of choral scenes stag directingin performances "Maid of Orlean", "Mazepa", "Eugene Onegin" by Tchaikovsky, "The Tale of the Invisible City of Kitezh" by Rimsky-Korsakov, "Mastersingers of Nuremberg" by Richard Wagner. The purpose of the study is the impact of the early 20th century DramaTheatre reform on the style of opera performances. Directing of opera performances still remains one of the least developed genres oftheatre science. History of the question requires careful examination. The paper firstly provides a comparative analysis of choral scenesdirecting by Olenin and Lapitsky. Introduction of new methods for the opera was a painful experience. Choral groups in theatres in early20th century were not prepared to work as an ensemble of actors. Stage directors Olenin and Lapitsky managed to organize the work ofsingers of the choir based on specific appearance of every singer. They gradually introduced some elements of psychological theatre,mixed different styles, combined the symbolic of rhythmic movements with truthfulness and realism. The use of realistic techniques wasmost vividly demonstrated in the course of stage directing of massive of choral and mimic scenes in the opera "Mastersingers ofNuremberg" by Richard Wagner. Freedom of choir and its "independence from the conductor" resulting from complex and painstakingwork of the production team made strong impact on the audience. Experience of this decade showed the way of painless introduction ofthe principles of psychological theatre to opera performances. It also allowed defining the appropriate level of details in the choralscenes. The first experiments became the first steps to perception of the opera as independent and original "synthetic" genre.

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