ФУНКЦИЈА БАЈКЕ У ОПЕРИ ЖЕНА БЕЗ СЕНКЕ РИХАРДА ШТРАУСА И ХУГА ФОН ХОФМАНСТАЛА (I део)
THE FUNCTION OF THE FAIRY TALE IN THE OPERA THE WOMAN WITHOUT A SHADOW BY RICHARD STRAUSS AND HUGO VON HOFMANNSTHAL

Summary/Abstract: The opera Die Frau ohne Schatten by Richard Strauss and Hugo von Hofmannsthal is often referred to as a fairy tale opera. This paper examines how the fairy tale genre is represented in the work and what function it has. The methodology used to determine which fairy tale characteristics are present in the libretto is based on two studies from the field of fairy tale theory: Morphology of the Folktale by Vladimir Propp and The European Folk Tale by Max Lüthi. Propp finds the structure of the fairy tale on the level of action, identifying thirty-one functions, some of which may be absent or repeated, but they always follow the same sequence. Lüthi examines the overall composition and parts of the fairy tale, down to individual words, identifying five characteristics: one-dimensionality, depthlessness, abstract style, isolation and universal interconnection, sublimation and all-inclusivness. These two fairy tale theories complement each other and serve to define an architextual fairy tale model. In the first part of the paper, this model is used to determine the fairy tale features in the libretto and deviations from them, in order to establish their function. In the second part of the paper, the analysis of thematic and tonal plans in the music, a stylistic analysis, observing the relationship of tonalities from the perspective of Richard Cohn’s hexatonic poles theory, and in the context of Strauss’s specific objective aesthetics of Stilkunst, serves to determine the way and extent to which the music follows the characteristics of the fairy tale and its function.

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