Позоришни сценарио versus партитура музичког дела

Abstract

Са намером да се преиспитају на први поглед једноставне логичне паралеле између музичке и позоришне уметности, у овом раду су размотрени проблеми који их прате. Да ли музикологија и театрологија деле разумевање појединих појмова из музичке терминологије? Да ли партитура заиста може да се посматра као сценарио? Да ли је диригент заиста аналогон редитељу? Које разлике овај дискурс о сличности додатно потенцира, оповргава или потврђује? Ова и друга питања сагледана су на релацији позориште–музика и музика–позориште те критички сагледана из угла музикологије.

Prompted by the idea that there are possible analogies between a script and a score, as well as possible similarities, this paper represents a musicological view of a meeting between two arts: theatrical art and music art. Authors from the theatre art do not shy away from using musical terminology, often with the intent to solve a certain theatrical problem, to get across their point of view of a certain phenomenom, describe their modus operandi in the theatre etc. What does all of that mean for the music? What are the shared terms and what is the manner in which we use a certain term? Does musicology have a shared understanding of a certain term with theatrology/theatre studies? Could the director in theatre truly be understood as a theatrical analogue of the conductor? Can we understand the play text as a blueprint for a certain theatre production and therefore, musical score as the blueprint for the manner in which a certain musical piece should be performed? Analogies, although logical, are in fact superficial. This paper deals with the problems that appear when these analogies are disected. This is done by juxtaposing theatrological and musicological views on the matter as well as relying on relevant authors from both fields, authors that further develop a discourse on these plausible similarities between arts.