About the embodiment of humanistic values in the G. Presgurvic’s musical “Romeo and Juliet”
Statement of the problem, theoretical basis of the study. The tragedy of W. Shakespeare is a genius, but not the only interpretation of the plot, which belongs to the category of “eternal”. Shakespeare, as his brilliant interpreter, in turn, inspired and, from century to century, to the present day, continues to inspire artists for subsequent author’s readings of the story about Romeo and Juliet. In particular, the performances of the famous work of the English playwright in the musical theater demonstrate new expressive semantic accents in the interpretation of the famous plot. One of the vivid examples of his free interpretation is demonstrated by the contemporary French composer, poet and singer Gerard Presgurvik in the musical “Romeo and Juliet” (on his own libretto; without duplicating the text of Shakespeare’s tragedy), which was first performed in 2001 on the stage of the Palais des Congrès in Paris. In our opinion, the understanding of the “picture of the world” that appears before the viewer in the named work becomes possible thanks to the analysis of the conceptual foundations that determine the specificity of the embodiment of the humanistic values of the plot “Romeo and Juliet”. In relation to the musical by G. Presgurvik, the concept of the German sociologist M. Weber, which examines social processes from the standpoint of axiology, turns out to be an effective tool for such analysis. Its scientific provisions, as we see it, are the best way to reveal the foundations of the conflict in the famous tragedy of W. Shakespeare, which was further interpreted in the musical performance of the French composer. Characteristically, that M. Weber’s types of rationalization of social behavior the row of representatives of philosophical thought – J. Habermas (2010), Yu. Davydov (1990), K. Troitskiy (2013) – connects with the concept of “picture of the world”. The purpose of the study is to present the conceptual foundations that determined the specifics of the implementation of humanistic values in the musical “Romeo and Juliet” by G. Presgurvic. The axiological approach, which formed the basis of the research methodology, is due to the need to determine the value orientations of the characters in the musical by G. Presgurvik. In this regard, it seems appropriate to appeal to the provisions of M. Weber’s “understanding” sociology. So, M. Weber calls for tolerance – “polytheism of values”, because in social life it is necessary to seek compromises. The German scientist also points to the relativism of values, their relativity, because the search for compromises determines the fate of a person in the social world. These provisions help to reveal the basis of the conflict in the famous tragedy of W. Shakespeare, which received further reflection in the analyzed musical by G. Presgurvic. Results. The musical “Romeo and Juliet” by G. Presgurvic shows the interaction of different value orientations, which determines the interaction of the characters and the development of the tragic plot, where each event has a social and personal psychological reason. Each character has their own views on life and situations. The behavior of the main characters in the musical “Romeo and Juliet” is dictated by Love and is an example of value-rational motivation for action. Friar Laurence follows religious values, sympathizing with lovers. The actions of the priest are determined by the combination of traditional and value-rational motivations. However, in his desire to help Romeo and Juliet, he uses a trick that allows highlighting a rational background in his actions. Romeo acts recklessly under the influence of the Mercutio’s death. However in the future, we add, the course of events is determined by the difference in values – the need to follow the requirements of the law (Prince of Verona Escalus is its herald and guarantor) and the will of the heart, the impulses of the soul (Romeo’s actions). It is necessary to note the connection of social actions in this plot with family values, power, religion, the legal field (legality) and humanistic values. G. Presgurvik introduces an allegorical symbol of Fate, Fate-predestination, which is embodied by choreographic means. There is a ballet character in the musical, personifying Death, which becomes the Destiny of lovers; therefore, the archetype of death is equivalent to the archetype of Destiny (Death = Destiny). It is significant that the character-Death appears at the secret wedding of Romeo and Juliet, accompanying them at the happiest moment of their lives as an implacable Fate (see No. 17 Blessing). The motive of death n the work by G. Presgurvik is noticeably strengthened in comparison to Shakespeare’s tragedy. The idea of Destiny in the musical appears in two ways – on the one hand, as fate, predestination, assignment and purpose, the Providence of God, on the other – as a Path, which, in turn, can be seen as a process and as a result. Destiny determines in G. Presgurvik’s work the actions of social groups and individuals in their interdependence, and God’s Providence determines Romeo and Juliet assignment, over whom Doom hangs, on the one hand, and, on the other, the mission to reconcile warring families, but at the cost of their own lives. Conclusions. In the musical by G. Presgurvik, whose literary source was the famous tragedy of W. Shakespeare, the focus of attention is on the humanistic values of European society, leaving room for religious questioning. In the work, philosophy, religion, myth interact (an appeal to archetype images and to the “eternal plot” of tragic love), defining the themes and nature of the thoughts and introspections of its characters. A certain picture of the world is formed from the statements of various characters, which correlates with the values of public consciousness, with humanistic, social and Christian judgments. At the same time, the tragedy of Shakespeare’s heroes is not Christian, but, first, humanistic in its essence. At the same time, in his concept, G. Presgurvik goes beyond showing social actions and their axiological assessment. He introduces into his text the archetypes of Death, Enmity, Fate, which are represented by the allegorical characters of the play. Thus, the composer brings stage communication to the level of showing not only socially valid, but also ontological processes. The author of the article sees the prospect of research in the further indepth study of the “picture of the world” in the musical “Romeo and Juliet” by G. Presgurvik, which will become a basis for understanding the author’s text as an invariant for subsequent interpretations.