Акімова, А. О. та Акімова, Анас. О. та Akimova, А. О. та Akimova, Anas. O. (2019) Особенности визуального и вербального в драме Хэ Цзина-Чжи и Дина Ни «Седая девушка» (1943–1945 годы). Актуальні питання гуманітарних наук (23). с. 44-49.

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Text Акімова А,О. та Акімова А.О, ОСОБЕННОСТИ ВИЗУАЛЬНОГО И ВЕРБАЛЬНОГО В ДРАМЕ ЦЗИНА ЧЖИ И ДИНА НИ зах.pdf Download(763kB) | Перегляд

Анотація

Актуальность статьи обусловлена спецификой жанра народной музыкальной драмы «Седая девушка» в литературной обработке. Современные исследования китайской литературы ХХ столетия располагают несколькими вариантами первой национальной китайской оперы «Седая девушка» (白毛女, «Бай мао нюй»). Оригинальное название произведения интриговало и в дальнейшем влияло и на его прочтение, и на постановку. В отличие от других пьес новой драматургии, на протяжении долгого времени были сделаны неоднократные театральные обработки (включая одноименный балет, поставленный в 1964 году, как один из тогда разрешенных) «Бай мао нюй» во многих городах Китая и за его пределами. Например, в России пьеса долгое время была в репертуаре Театра им. Е. Б. Вахтангова, одним из ее режиссеров была Татьяна Лиознова. Пьеса поставлена Государственным театром имени Хамзы в Ташкенте (на узбекском языке), Театром Армии в Чехословакии, в 1952 году отрывки произведения смогли оценить участники Международного фестиваля демократической молодежи в Берлине. В 1949 году пьесу экранизировали режиссеры Шуй Хуа и Ван Бинь.

Title in English

Peculiariti es of visual and verbal in the drame Xe Jin g-Ji and Dina “Seday girl” (1943–1945)

English abstract

The relevance of the article is due to the specifics of the genre of folk musical drama “The Gray-Haired Girl” in literary processing. Modern studies of twentieth-century Chinese literature have several versions of the first national Chinese opera “The Gray-Haired Girl” (白毛女, “Bay Mao Nui”). The original title of the work intrigued and further influenced both its reading and the production. In contrast to other plays of drama, for a long time numerous theatrical arrangements were made (including the ballet of the same name, staged in 1964 as one of the then allowed) “Bay Mao Nui” in many cities in China and beyond. For example, in Russia, the play has long been in the repertoire of the Theater E. B. Vakhtangov, one of its directors was Tatyana Lioznova. The play was delivered to the Uzbek language by the Khamza State Theater in Tashkent, the Army Theater in Czechoslovakia, in 1952 participants in the International Festival of Democratic Youth in Berlin were able to evaluate excerpts. In 1949, the play was filmed by directors Shui Hua and Wang Bin. Analyzing the theoretical foundations of Chinese dramatists, one should note a characteristic feature in Chinese literature, in particular, during its development, Chinese literature could not be limited only to the national horizon and remain indifferent to other cultures. In the Middle Ages, China became a place of combination of many Eastern cultures, entering into economic and cultural contacts with other nations. As a result, Chinese playwrights emerge on the basis of their own traditions. Chinese literature in the process of historical development experienced external influence. Thus, we must analyze and deepen the knowledge of the visual and verbal in modern Chinese drama, to consider the development of Chinese literature and, in particular, drama in the context of interaction with the literary heritage of other countries. After all, given the external cultural influences, both on Chinese literature and on Chinese literature on the development of world culture and literature, the factor of objectivity is lost, causing serious damage to the scientific perception of the problem. Thus, in our opinion, we can draw conclusions that the peculiarities of the creation of character images are the lack of visual characteristics, i.e. we can independently represent the actor, and in the case of stage production, rely on the director’s opinion. Defining to create a holistic picture of character images are their self-characteristics and replicas of other actors. The semantic load of visual and verbal techniques in drama was carried out through remarks of both the author’s explanation of the text and those based on the characteristics of the environment of the action, the appearance of the characters, the characteristics of their behavior and attitudes towards others.

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