Valentina V. AZAROVA Saint Petersburg State University
7-9, Universitetskaya nab., Saint Petersburg, 199034 Russian Federation
Faculty of Arts, Department of Organ, Harpsichord and Carillon, Professor
Doctor of Science (Art History)
e-mail: azarova_v.v@inbox.ru
ORCID: 0000-0003-1049-2259
Stage Music and Paul Claudel’s Dramatic Strategy to ‘the Tidings Brought to Mary’. 1929–1932 Project of the Mystery PlayAbstract: This article looks at the system of theater and dramaturgy strategies which were devised by Paul Claudel to ensure interaction between elements of scenic speech and excerpts from stage music by Darius Milhaud in the frame of 1929–1932 project of ‘The Tidgings brought to Mary’ mystery play.
The methodology used in this research is relevant for interdisciplinary studies in humanities. Aspects of Art History, Cultural Studies, philology and Dramatic Art combined shape new knowledge about Paul Claudel’s theater and drama strategies in terms of scenic speech, as well as the functions of stage music in the ХХth century mystery play. What has been uncovered is an evolution of Claudel’s ideas pertaining to theater and drama put into perspective against the background of French symbolism that developed in the 1900s. Implementing of Catholic Faith fundamentals in ‘The Tidings brought to Mary’ and the other plays Claudel wrote during the period under review has also been noticed in this article. The author determines the main aspects of Claudel’s stage speech theories, which were presented as a set of dramaturgical strategies, and examines interacting elements of scenic speech and stage music. Concerning ‘The Tidings brought to Mary’ the strategies in question are as follows: ‘parallel music’, ‘nascent music’ and ‘opéra de parole’. Claudel’s transitioning to a language of sound and discovering the principles of sound dramaturgy have also been studied.
The following conclusions were drawn:
Claudel came to systemize new forms of scenic speech based on differentiating between rhythm and intonation parameters, as well as rhythm and timbre, drama and vocals regarding to expression of emotion in music and theater.
Some elements of the Far Eastern Theater performances had a significant impact on theatrical quality of Claudel’s plays.
Working on theater performances of his mystery play between 1929 and 1932, Claudel creatively used a theory he called ‘Music and drama’.
With help from Darius Milhaud, Claudel as an illustrious ХХth century French thinker addressed the issue of stage music on both conceptual and practical grounds with respect to performances of his mystery play in 1929 to 1932 and thus made a significant contribution to research in history of drama and theater.
Key words: Claudel, theater, French symbolism, Milhaud, stage music, scenic speech, mystery play, Tidings brought to Mary.
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For Citation: Azarova, V. (2024) Stage Music and Paul Claudel’s Dramatic Strategy to ‘the Tidings Brought to Mary’. 1929–1932 Project of the Mystery Play. International Journal of Cultural Research, 1 (54). 112–127. DOI: 10.52173/2079-1100_2024_1_112
DOI: 10.52173/2079-1100_2024_1_112
