ARTS IN CULTURAL DIALOGUE

Abstract. This article raises the question of the criteria of the performer’s mastery, which firstly implies actualization of dialogical interaction with the composer, secondly binding collaboration on the side of both the musician and the listener, the latter being a partner in a creative act of the kind. Finally, the artist engaged in musical performance is to be a thinker since music is not only expressed at the speech level but also at the level of mentality. It is proved that provision of the above three conditions only can enable the performer to carry hardcore music lovers with singularity and distinct identity of his own rendition of the score. It is also stated that one of the effective methods of work with the author’s text is its reinterpretation. Viewed in the light of Mikhail Bakhtin’s dialogical concept, the said method should be treated as co-existence of the given and the created, the cognitive and the ethic. The criterion of consistency of the dialogue as an experience in the agreement of contradictions, is then the performer’s pure taste and clear insight into the aim pursued by the new concept: whether it is enrichment of the world music culture or, alternatively, demonstration of one’s own willfulness and arbitrary rule. Establishing her system of reasons, the author of this paper turns to such authorities as Ferruccio Busoni, Glenn Gould, Maria Yudina, brothers Mikhail and Nikolay Bakhtin, thus making comparisons between reinterpretation and literary translation.

Keywords: performer-thinker, criteria of the quality of performance, interpretation, reinterpretation, performance as a dialogue.

Volkova P.S.: Dr. Sci. (Art Criticism), Dr. Sci. (Philosophical Sciences), Professor, Institute of Music, Theater and Choreography of the Herzen State Pedagogical University of Russia, Member of the Union of Russian Composers, Saint Petersburg, Russia, https://orcid.org/0000-0002-2424-7521, e-mail: рolina7-7@yandex.ru.

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