Shakespeare’s text in the concert-monologue sphere of the 17th–21st centuries: intermedial genre strategies

Abstract

The article raises the problem of semantically capacious works of W. Shakespeare in the context of the post-postmodern stage of development of culture and art. This allows us to reveal Shakespeare’s text as a fundamental philosophical idea, a culturally creative ontological impulse and a universal art historical code. The following vectors are actualized in the work: mastering the figurative poetic content against the background of the interaction of different types of art, delving into artistic renovations, their traditional and innovative generalization in the artistic audiovisual aspect, finding the incorporation of musical meanings with the concepts of image, idea, ideal in universal texts, in particular Shakespeare’s sonnets in the academic style; expressing the composition of Shakespeare’s discourse in the concert-monologue vocal texture of the 16th-21st centuries and modern interpretations. In order to understand the role of music and theater in the work of W. Shakespeare, the scientific presentation used the exegesis of semantic, contextual, lexical, substantive, and discursive analysis to implement the conceptual idea of the study. In particular, the analysis of the texts of Shakespeare’s primary sources and their stylistic and genre features was carried out; vocal works according to the author’s concepts, the history of their creation, plot, compositional structure, aesthetic programmaticity, and foreign phonetics in interpretations. The influence of academicism, which included the Platonic concepts of image, form, idea, and ideal on poetic, theatrical, operatic, and chamber genres of art as the most perfect with deep spiritual content, was emphasized; the affiliation of reference singing and poetic-declamatory speech, the maxim of elitist poetics and performing culture, in which high academic art was reflected, was highlighted. The preservation of the academic vocal-poetic tradition in the modern post-postmodern paradigm and the search for an interpretative vocal-linguistic style are emphasized.