Драматургічні функції танцю в західноєвропейскій опері (від Я. Пері до Х. В. Глюка)
DRAMA FUNCTIONS OF A DANCE IN THE WEST-EUROPEAN OPERA (FROM J. PERI TO CH. V. GLUCK)

Summary/Abstract: Purpose of the article is a research of the origins and evolution of drama functions of a dance in the opera, influence of dance on the common concept of the work. Research of this problem has caused reference to early examples of the opera genre, to the works of composers from Italy, Germany and England referring to the end of XVI, XVII and XVIII centuries. Exposure of drama functions of a dance is based on the analysis of the specific peculiarities of the dance embodiment in the first examples of the opera forms, in the opera works of C. Monteverdi, J. B. Lully, J. Ph. Ramo, G. F. Handel and Ch. V. Gluck. Methodology. System, historical and dialectical methods have been used, which enabled to study evolution of drama functions of a dance in the opera from the earliest examples of this genre to the works, which are the first achievements of the European opera art. Scientific novelty of the work involves expansion of notion of dance genre influence on typological peculiarities of the opera drama art in the works of C. Monteverdi, J. B. Lully, G. F. Handel and Ch. V. Gluck. Consideration of the structure of the dance divertissements in the opera works of J. Ph. Ramo makes it possible to apply a notion "suite dance form". Conclusions. Analysis of several types of drama dance functions (in different operas from the point of view of genre) permits to distinguish specific, remarkable enough role of a dance in opera multi-aspect integrity. Examination of evolution of specific types of drama functions of a dance permits to declare that their analogical models still exist nowadays.

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