Idejata Dăržaven muzikalen teatăr i proekcijata j v nacionalnija repertoar do kraja na XX vek:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Mars 09
2012
|
| Ausgabe: | 1. izd. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., bulg. - Zsfassung in engl. Sprache u.d.T.: The State National Theater idea and its projection onto the national repertoire up to the end of the 20th century |
| Beschreibung: | 319 S. |
| ISBN: | 9789542925095 |
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Datensatz im Suchindex
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СЪДЪРЖАНИЕ
Уводни думи
.7
Глава първа
Идеята Държавен музикален театър в България
1.
Ситуиране на проблема
.13
2.
Националната репертоарна стратегия
в контекста на тоталитарния режим
.31
Глава втора
Тематични канони и (не)канонични теми в националния
репертоар на Държавния музикален театър
.42
Глава трета
Индивидуални творчески стилове и жанрови модели
в представителния национален репертоар
.59
1.
Парашкев Хаджиев, Репертоарни жалони
.63
2.
Георги Златев-Черкин и Асен Карастоянов.
„Бунтовната песен'' и „Българи от старо време"
-
национална репертоарна класика от 50-те години
. 118
3.
Виктор Райчев.
С
романтична носталгия
по националните възрожденски идеали
. 142
4.
Димитър Вълчев. Театралността
на музикално-сценичните жанрове
.162
6_
5.
Александър Райчев.
„
Славеят на Орхидея"
и
шциош/інжт
модел на съвременна ревю-оперета
от 60-те години
.188
6.
Петър Ступел и Жул Леви. От музикалната
комедия до мюзикъла от класически тип
.199
7.
Марин Големинов. Самотното послание
на „Златната птица"
.250
8.
Любомир Денев. Нови перспективи в българския
мюзикъл от 80-те години
.263
Отворено заключение
90-те
-
години на промяна. А какво се промени?
.274
Приложения
Приложение
I.
Националният репертоар на ДМТ
до края на
XX
век
.282
Приложение
II.
Национални премиери на сцената
на ДМТ. (50-те
-
90-те години)
.288
Приложение Ш. Авторски показалец на жанровите
творби от български композитори
.292
Приложение
IV.
Тематичен и жанров регистър
на националния репертоар
.295
Цитирана литература
.300
Summary
.318
318_
THE STATE NATIONAL THEATER IDEA AND ITS PROJECTION ONTO
THE NATIONAL REPERTOIRE UP TO THE END OF THE 20th CENTURY
Summary
The general intention of this book is to address the question to what extent the
changes that occurred in the course of the constitution and the establishment of Bulgaria's
state-owned and state-run popular musical theater in the second half of the 20th century
could be linked to the process of the reception of the operetta genre in Bulgaria and to
its professional status, built and reinforced by the capital's private operetta theatre
companies in the period between the two world wars (this is the subject of an earlier
monograph of mine). The key objective of this study is to show how these changes
have been significantly projected onto the plane of the representative national repertoire
legitimizing the institution of theater per
se in
the context of Bulgaria's musical-theater
culture. This concern ties in with the current and still controversial research field
informed by a critical discussion of the most recent history of the State Musical Theater
and of the entertaining art it produces. It is no accident that the topic has not thus far
been the focus of a monograph and has not triggered contemporary critical reflections.
The conceptual reading of the national peculiarities and the stylistic tendencies in
the popular-theater genre, which emerged under pressure from and under the scrutiny
of the dominant ideological doctrine, presupposes following and describing the dynamics
of this process decade by decade (of course, the borderlines between them are somewhat
arbitrary) until the end of the 20th century. Still, the study is concentrated on the
totalitarian period, during which of all the musical-theater genres it was only operetta
that was officially pronounced by the press a petty bourgeois art form.
The "stigma" attached to the genre as early as the year when The State Musical
Theater was founded
(1948),
albeit ever more scrupulously suppressed and concealed
as the decades went by, was never quite obliterated until the very fall of the communist
regime. For this reason, my attention as a scholar is devoted to the distinction, inherent
to totalitarian art, between ideological determination and relative autonomy of the
stylistic devices and the
mise-en-scène
aesthetics of the Bulgarian premieres that
appeared on the stage of the State Musical Theater "Stefan
Makedonski"
(these amount
to
50
shows altogether over the five decades up to the end of the 20th century, and their
authors are
18
distinguished Bulgarian composers). From this perspective, it is necessary
to take into account another important ideological criterion: although it was designed
by the socialist government as unique to our country, the State Musical Theater actually
remained outside the privileged category of national cultural institutions. What accounts
for this is the fact that in the hierarchy of values of totalitarian art the popular musical
genres were relegated to a secondary position. To a great extent, this also accounts for
the relatively narrow circle of Bulgarian composers (Parashkev Hadjiev, Geirgi
Zlate
v-
Cherkin,
Assen Karastoyanov,
Viktor Raychev, Dimitar Valchev,
Petar Stupel,
Jules
_319
Levi,
Lubomir
Denev) who took an abiding interest in and lent their names to the State
Musical Theater, creating its representative national repertoire, it is this repertoire,
extending between the genres of comic opera and rock musical, that deserves to be
critically re-assessed and stylistically systematized. What is more, it features each
composer's original ideas and artistic choices which could be viewed as part of the
generic body of Bulgaria's contemporary musical-theater art.
This is the general conceptual framework of my study, but it also pursues a few
specific goals. First of all, I seek to highlight, from the vantage point of a contemporary
post-totalitarian cultural situation, the driving forces behind the emergence and the
social accommodation of the idea of a state musical theater in Bulgaria at the end of
the
1940s.
I also aim to track and evince the aesthetic manifestations of the projection
of this idea onto the plane of the national repertoire strategy, especially as far as
Bulgarian premiere shows are concerned. I perceive these Bulgarian works as an already
archivized (after Lyotard), yet still unexplored part of the national cultural heritage
from the second half to the end of the 20th century. In this light, I hope to be able to
delineate different artistic styles and generic models in the State Musical Theater's
representative national repertoire over the period under discussion.
In contrast to my studies on the decades between the two world wars, this book
will benefit from the opportunity I have to include my personal observations on the
rehearsal period of some of the shows presented on the stage of the State Musical
Theater. This enables me to rely on my own critical and interpretative approach in
reconstructing these shows' theatrical discourse and the audience's response. For, as
Ivaylo Znepolski points out, "to understand and properly assess the historical process
takes more than the experience of the contemporaries of certain events; history cannot
be reduced to the description of a set of facts that often clash with one another. It is
necessary that experience be conceptualized".
It should also be noted that since the book touches upon some problematic zones
of contemporary political science and social theory zones that are directly related to
the key historical identifications characterizing the 20rh century my approach is strictly
cultural, which is why my study adheres to the so called principle of'political correctness
whenever it refers to well-known or newly-published state-archive documents with
ideological content.
•Ό·1
After all, the historical accuracy of the researcher's assessments and her faithfulness
to her research subject with all its contextual complexities are not determined only by
today's restored picture of power mechanisms, motivations, and official occasions for
creative activity or public performance; these qualities of research are also predicated
on its evincing the creative ideas, impulses, and messages, encoded in the musical
dramatic fabric and in the style of the author of each individual work; the cultural
significance of the works' first stage interpretations is also worth exploring.
It is these ideas, messages, and interpretations that my book seeks to reveal. |
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| spelling | Karakostova, Rumjana 1951- Verfasser (DE-588)1050856996 aut Idejata Dăržaven muzikalen teatăr i proekcijata j v nacionalnija repertoar do kraja na XX vek Rumjana Karakostova 1. izd. Sofija Mars 09 2012 319 S. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., bulg. - Zsfassung in engl. Sprache u.d.T.: The State National Theater idea and its projection onto the national repertoire up to the end of the 20th century Geschichte 1947-2000 gnd rswk-swf Musiktheater (DE-588)4040874-7 gnd rswk-swf Repertoire (DE-588)4338256-3 gnd rswk-swf Kulturpolitik (DE-588)4033581-1 gnd rswk-swf Staatstheater (DE-588)4370311-2 gnd rswk-swf Kulturelle Identität (DE-588)4033542-2 gnd rswk-swf Bulgarien (DE-588)4008866-2 gnd rswk-swf Bulgarien (DE-588)4008866-2 g Staatstheater (DE-588)4370311-2 s Musiktheater (DE-588)4040874-7 s Kulturpolitik (DE-588)4033581-1 s Repertoire (DE-588)4338256-3 s Kulturelle Identität (DE-588)4033542-2 s Geschichte 1947-2000 z DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027193000&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027193000&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Karakostova, Rumjana 1951- Idejata Dăržaven muzikalen teatăr i proekcijata j v nacionalnija repertoar do kraja na XX vek Musiktheater (DE-588)4040874-7 gnd Repertoire (DE-588)4338256-3 gnd Kulturpolitik (DE-588)4033581-1 gnd Staatstheater (DE-588)4370311-2 gnd Kulturelle Identität (DE-588)4033542-2 gnd |
| subject_GND | (DE-588)4040874-7 (DE-588)4338256-3 (DE-588)4033581-1 (DE-588)4370311-2 (DE-588)4033542-2 (DE-588)4008866-2 |
| title | Idejata Dăržaven muzikalen teatăr i proekcijata j v nacionalnija repertoar do kraja na XX vek |
| title_auth | Idejata Dăržaven muzikalen teatăr i proekcijata j v nacionalnija repertoar do kraja na XX vek |
| title_exact_search | Idejata Dăržaven muzikalen teatăr i proekcijata j v nacionalnija repertoar do kraja na XX vek |
| title_full | Idejata Dăržaven muzikalen teatăr i proekcijata j v nacionalnija repertoar do kraja na XX vek Rumjana Karakostova |
| title_fullStr | Idejata Dăržaven muzikalen teatăr i proekcijata j v nacionalnija repertoar do kraja na XX vek Rumjana Karakostova |
| title_full_unstemmed | Idejata Dăržaven muzikalen teatăr i proekcijata j v nacionalnija repertoar do kraja na XX vek Rumjana Karakostova |
| title_short | Idejata Dăržaven muzikalen teatăr i proekcijata j v nacionalnija repertoar do kraja na XX vek |
| title_sort | idejata darzaven muzikalen teatar i proekcijata j v nacionalnija repertoar do kraja na xx vek |
| topic | Musiktheater (DE-588)4040874-7 gnd Repertoire (DE-588)4338256-3 gnd Kulturpolitik (DE-588)4033581-1 gnd Staatstheater (DE-588)4370311-2 gnd Kulturelle Identität (DE-588)4033542-2 gnd |
| topic_facet | Musiktheater Repertoire Kulturpolitik Staatstheater Kulturelle Identität Bulgarien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027193000&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027193000&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT karakostovarumjana idejatadarzavenmuzikalenteatariproekcijatajvnacionalnijarepertoardokrajanaxxvek |