Tragöödia artikuleerimine sonaadi kaudu: kahe arhetüüpse narratiivi kohtumine Semperi-Ojasoo-Eltsi „Macbethis“

Abstract

The production of Macbeth by Ene-Liis Semper, Tiit Ojasoo and Olari Elts transcends the conventional boundaries of both drama and music theatre. This article examines the interplay and convergence of the two archetypal narratives in Macbeth, the tragedy and the archetypal sonata, with a particular emphasis on the role of music within the production. It begins by outlining the traditional formsemantic structures of the two archetypal narratives. The analysis identifies distinct form-semantic phases or stages, with tragedy encompassing five phases and the sonata comprising four. Subsequently, the interactions between these phases (20, 4x5) and the distribution of musical elements within the framework of the tragedy are explored. The findings underscore the profound relationship between music and tragedy in the Macbeth production. This relationship is evident not only at the macro-level of form—such as the diminishing of music’s commentary role juxtaposed with an expansion of the reactive role in the narrative progression—but also at the micro-level. For instance, the musical articulation of characters and events is analysed in depth. Furthermore, the study highlights several emotional, temporal, intertextual, and moral dimensions of the music within the production.