The concept of myth in opera art

Abstract

On the basis of the theoretical analysis of scientific literature, it was determined that the myth is one of the most important dominants of culture, retaining its value in virtually all periods of its development. Using the dynamic potential of concepts, which is based on their openness to constant changes, new interpretations and interpretations, the issues of the essence of the concept of myth in opera and in the art of music in general are considered. Turning to the art history interpretation of the concept of “concept”, the key aspects of the concept of myth in operatic art (myth – plot, myth – structural model, myth – type of thinking) are revealed. This research method made it possible to find additional justifications for the plurality and openness of opera art. It has been established that the concept of myth must be considered in two planes – as a subject of artistic/scientific comprehension and as a universal sphere of cognitive activity. Two forms of appeal to the mythological plot in operas are analyzed – an explicit form, which is based on open appeal, and an indirect form, based on hidden allusions. The conclusion is made about two main functions of the mythological plot in the opera: the distance function and the semantic transformation.