| Abstract [eng] |
Relevance and novelty of the topic: The role of sound and music in theatre during the postmodern era is multifaceted. The traditional understanding of the use of music in theatre is changing: from an applied tool intended to supplement the emotional weight of the performance, sound and its use become an equivalent dramaturgical element to the literary text or the on-stage action. In postmodern theatre, the artistic object presented by the creators and perceived by the audience – the performance – becomes a shared event between both parties, in which music has a greater influence on the outcome than ever before in theatre history. In this work, by analysing music as an autonomous dramaturgical element and expanding the understanding of its practical use in the performance “The Medusa‘s Room” directed by Paulius Juška, the aim is to contribute to the discourse of postmodern theatre, the features of which have not yet been fully explored or applied. This work seeks to reveal how, in contemporary theatre, music evolves from an applied function into an independent theatrical element that shapes the structure of the performance, and how the characteristics of this transformation are reflected in the creation of the soundtrack for “ The Medusa‘s Room.” Object of the research: The sound dramaturgy and musical interpretation of the performance “The Medusa‘s Room.” Project aim: To review the context of postmodern theatre and, based on theoretical analysis, to create a soundtrack for the performance “ The Medusa‘s Room”, demonstrating how musical interpretation shapes the dramaturgy of the performance. Objectives: 1. music. To discuss the context of postmodernism and postdramatic theatre and their influence on theatre 2. To analyse the dramaturgical and ideological context of “The Medusa‘s Room”, revealing the connections between feminist and postmodernist literature and this work. 3. To define the characteristics of sound dramaturgy and composition in “The Medusa‘s Room”, examining the interaction of different theatrical elements. 4. To create and prepare the soundtrack for “The Medusa‘s Room” Research methods: The study employed literature analysis, which was applied in examining the context of postmodern theatre and the understanding of sound dramaturgy. The works of theorists such as Hans-Thies Lehmann, Erika Fischer-Lichte, Daiva Citvarienė, Mladen Ovadija, David Roesner, and others are discussed. The dramaturgy of Saara Turunen’s play “ The Medusa‘s Room” was then analysed, along with a comparative literary analysis of Hélène Cixous’s essay “The Laugh of the Medusa” and Virginia Woolf’s “A Room of One’s Own” in order to identify the feminist and ideological aspects of the play that influence the author’s choice of music and the parallels with the musical interpretation of the staged performance. The final part of the work reflects on the process of creating sound dramaturgy and the artistic decisions made during this process. Results and areas of application: The research demonstrated that the music of postmodern theatre often functions and can operate as an autonomous element of dramaturgy. The soundtrack of the performance “The Medusa‘s Room” practically showed that the purposeful use of sound design and music actively constructs the course of action and the further narrative of the performance. The results of this work can be used for studies on the functions of music in contemporary theatre and applied in the practice of musical dramaturgy. Project structure: The thesis consists of an introduction, three chapters, conclusions, a list of references, and appendices. The first chapter reviews the context of postmodern theatre, the second analyses the dramaturgy and symbolism of “The Medusa‘s Room,” and the third discusses the soundtrack of “The Medusa‘s Room”. expanding the understanding of contemporary uses of theatre music, an area that remains insufficiently explored. |
