The concept of the game in the opera by J. Verdi’s “Falstaff”
Abstract
The relevance of the article is determined by the modern scientific context, an innovative approach to the analysis of drama. The author shows that the concept of the game is the semantic center of the artistic process of the opera “Falstaff” by G. Verdi. Previously, this work was not considered from this point of view. The presence of game principles is revealed. Huizinga: systems of role-playing games, game phantasmagoria, interaction of layers of external, internal and symbolic action, carnivality, techniques of parody and grotesque, as well as “theater in the theater”. The dramaturgy of the opera corresponds to the game model. The features of misteriality are embodied in the final choral fugue of the finale, which is a form of the highest order and generalizes thematic and dramatic processes, while the action moves from the stage space into the space of natural space, phantasmagoria and sleep.
About the Authors
A. E. Kisel
Rachmaninov Rostov State Conservatory
Russian Federation
Russian Federation
Angelina E. Kisel, 2st year student of the specialty Musicology
Rostov-on-theDon, 344002
G. E. Kaloshina
Rachmaninov Rostov State Conservatory
Russian Federation
Russian Federation
Galina E. Kaloshina, Cand. Sc. (Art Criticism), Associate Professor of the Department of Music History
Rostov-on-theDon, 344002
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Review
For citations:
Kisel A.E., Kaloshina G.E. The concept of the game in the opera by J. Verdi’s “Falstaff”. ARTE. 2022;(3):5-11. (In Russ.)
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