| Abstracts |
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Page 6 of 6 Nadezhda Tarshis (Saint Petersburg State Theatre Arts Academy) ‘From Meyerhold’s “musical realism” to theatrical soundtracks of recent times’ Music as the lynchpin of composition in Meyerhold’s theatre holds fascination for audiences, practitioners, and researchers. Attempts have been made to explain this phenomenon, invoking technique or ‘school’, but technique itself means nothing. What is essential is Meyerhold’s unique blend of drama and music, which resonated so well with his era. This architectonics was no longer present in the work of even the most musical of his students. What has replaced it? The cracks in our perception of the world and in human consciousness make it necessary to incorporate other sources of dramatic life in performances. Music is beginning to reassume that role. |