საოპერო სპექტაკლის სადადგმო თავისებურებების შესახებ

The dissertation work “On the Peculiarities of Staging of an Opera Spectacle” represents an attempt to take acloser look at the operatic art, to analyze and to understand the specifics of the opera direction, to show forth similarities and differences between the processes of staging of drama and opera spectacles.
In order to study in depth the features and so called “frames” characteristic for the opera direction, we have tried to overview shortly the essence of the operatic art, a short history of its nascence, stages of its development and the way that it has passed until the final formation of the modern opera direction.
We have attempted to represent those principal topics in the present work that are characteristic for the operatic art, namely: libretto and its differences from the play; recitative and its role for an operatic opus as well as its importance for a director; the importance of ensemblicity both in opera and in drama theatres and the ensemble as one of the most characteristic and outstanding features of the opera (i.e. when several people ‘talk’ simultaneously in singing); conductor - a special person, without whom it is impossible to integrate into one artistic unity such a large and multi-component organism as the opera spectacle.
There is discussed in the work such an important process for the scenic and cinematographic art as distribution of roles. There is made a sociological research in connection with this matter, and there are cited opinions of eight artists, who share their experience, what is their logics of dispatching the roles in drama spectacles, films and opera spectacles. As drama theatres and operatic art have many things in common as well as much differences, distribution of the roles is no exception from this regularity. The common feature is that all the directors wish their spectacle or film to be successful, and correct distribution of roles is one of the key points of the success.
The work discusses various steps of the process that accompanies staging of the opera spectacle. It is longer than the process of staging typical for drama theatres, and these two have many differences. There are also shortly described those modern tendencies that occur in modern operatic art.
The second chapter of the work is devoted to Victor Dolidze’s opera “Keto and Kote” and to its short history of creation, as well as to the complex road that the respective scenic life has taken. There is also described the directing explication of the opera, which was staged on 29th November 2019 in the Grand Hall of V. SarajishviliTbilisi State Conservatoire.
Due to the research, there has been found out that the process of staging of the opera spectacle qualitatively differs from that of the drama theatre and this gives us the reason to consider opera direction as a separate phenomenon.
The present work represents the first attempt within the Georgian theatrical space to investigate the opera direction not from the point of view of musicology, but by means of elucidation of the full cycle of the process of a director’s work upon the spectacle.