| Abstract [eng] |
Nowadays it is a well-known fact that we are surrounded by artists employing a great diversity of theatre forms. The number new theatre forms began to rise rapidly in times of post-drama theatre, where drama ceased to be text-centered and became influenced and susceptible to more factors than ever before. Thus, today we can easily find examples of theatre performances, based on principles of dance, music, architecture, painting and even physics and other natural sciences. Also, one cannot understate the influence of new forms on the contents of theatre material, which, in some cases, becomes subordinate to the form itself or at least inseparable from it. Nonetheless, in theatre academies training actors, directors, playwrights and other theatre professionals, the focus is usually centered only on skills, ensuring the quality of students’ future work solely in one form. Most frequently this form is psychological realism, which is deeply rooted in our theatre. Psychological realism is not a universal theatrical method that is easily adaptable to any other art form, so it is unclear why young theatre artists up to this day are not being trained how to use other diverse, current and affective theatre forms. Since I have my share of professional musical experience, in this work called „The Application of Musical Composing and Performance Principles in Staging the Theatre Play „Bagadelnia”” I shall try to investigate, which principles of composing and performing music I can successfully use while staging compositional theatre performances. I shall analyze how logic of composing and performing music can be used in the process of writing a play, in strategy of directing it and in actor’s performance. I believe, that this investigation and its expected results may be useful not only to me, but also to other modern creators of presentational theatre in Lithuania. |
