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Мета статті – поглибити дослідження авангардистської театральної культури 1920-х рр., зосередившись на проблемі формування її «ексцентричної» поетики. Матеріалом досліду послугувала творчість Жана Кокто – одного з проводирів європейської «художньої революції» першої третини ХХ ст., зокрема його пантоміма «Бик на даху» на музику члена групи «Шість» Дарьюса Мійо (1920), що продовжила експерименти митця з «кабаретизації» французької сцени. Методологію дослідження склала комбінація елементів історико-культурного, історико- реконструктивного та структурно-аналітичного методів. Наукова новизна полягає у введенні в український театрознавчий обіг висвітлення та аналізу творчих надбань Ж. Кокто у сфері французького музично-драматичного театру початку 20-х років ХХ ст. Висновки. Процес формування «ексцентричної» поетики, або так звана «кабаретизація» європейського та радянського кону 1920-х рр., став яскравою прикметою авангардистської театральної культури. Це був один із перших провокативних сценаріїв кардинального оновлення театру та важливий етап загального культурного поступу. Пошук різноманітних способів збагачення сценічної лексики є актуальним питанням сучасного театрального процесу. Тож різнорівневий аналіз «переломних» періодів історії культури, коли народжувалася нова естетика, залишається одним із найрезультативніших методів динамізації відповідних процесів сьогодення., Цель статьи – углубить исследование авангардистской театральной культуры 1920-х гг., сосредоточившись на проблеме формирования ее «эксцентрической» поэтики. Материалом исследования послужило творчество Жана Кокто – одного из лидеров европейской «художественной революции» первой трети ХХ века, в частности его пантомима «Бык на крыше» на музыку члена группы «Шесть» Дарьюса Мийо (1920), которая продолжила эксперименты художника по «кабаретизации» французской сцены. Методологию исследования составила комбинация элементов историко-культурного, историко-реконструктивного и структурно-аналитического методов. Научная новизна заключается во введении в украинский театроведческий обиход анализа творческих достижений Ж. Кокто во французском музыкально-драматическом театре начала 20-х гг. ХХ в. Выводы. Процесс формирования «эксцентрической» поэтики, или так называемая «кабаретизация» европейских и советских подмостков 1920-х гг., стал яркой приметой авангардистской театральной культуры. Это был один из первых провокационных сценариев обновления театра и важный этап общекультурного прогресса. Поиск разнообразных способов обогащения сценической лексики – актуальный вопрос современного театрального искусства. Поэтому многоуровневый анализ «переломных» периодов истории культуры, порождавших новую эстетику, остается одним из наиболее результативных методов динамизации соответствующих сегодняшних процессов., Purpose of the study is to deep the research of the 1920th vanguard theatrical culture, concentrating on the problem of its “eccentric” poetics’ forming. The study is based on the creative activity by Jean Cocteau – one of the leaders of the first third of the 20th century “artistic revolution”, in particular, on his pantomime “Bull on the Roof” with the music of the “Six” member Darius Milhaud (1920), which was the next artist’s experiment for the French stage “cabaretization”. The methodology of the study combines the elements of the historical-cultural, historicalreconstructive and structural-analytic methods. Scientific novelty of the study lies in the lighting up of the points, which were insufficiently investigated by the native theatrical science, and in bringing into Ukrainian theatrical researches general use Jean Cocteau creative achievements in the French decade beginning music-&-dramatic theatre. Conclusions. Forming of the “eccentric” poetics process, or so called “cabaretization” of the European and Soviet stage in 1920th, became an evident token of the vanguard theatrical culture. It was one of the first provocative plots of the theatre innovation and an important step of the general cultural advancement. Searching the different ways to enrich the stage vocabulary is an actual question of the contemporary theatre. Therefore a different-level analysis of the history of culture “turning points”, when the new esthetics is born, leaves one of the most resultative methods to precipitate the today’s corresponding process.

Purpose of the studyis to deep the research of the 1920th vanguard theatrical culture, concentrating on the problem of its “eccentric” poetics’ forming. The study is based on the creative activity by Jean Cocteau – one of the leaders of the first third of the 20th century “artistic revolution”, in particular, on his pantomime “Bull on the Roof” with the music of the “Six” member Darius Milhaud (1920), which was the next artist’s experiment for the French stage “cabaretization”.The methodology of the studycombines the elements of the historical-cultural, historicalreconstructive and structural-analytic methods.Scientific noveltyof the study lies in the lighting up of the points, which were insufficiently investigated by the native theatrical science, and in bringing into Ukrainian theatrical researches general use Jean Cocteau creative achievements in the French decade beginning music-&-dramatic theatre.Conclusions. Forming of the “eccentric” poetics process, or so called “cabaretization” of the European and Soviet stage in 1920th, became an evident token of the vanguard theatrical culture. It was one of the first provocative plots of the theatre innovation and an important step of the general cultural advancement. Searching the different ways to enrich the stage vocabulary is an actual question of the contemporary theatre. Therefore a different-level analysis of the history of culture “turning points”, when the new esthetics is born, leaves one of the most resultative methods to precipitate the today’s corresponding process.

Organological and historical study of innovating bowed instruments by Léo and Léon Sir during the first half of the 20th century. Analysis of the repertoire composed for this ensemble, among others by Arthur Honegger, Darius Milhaud, Manuel Rosenthal e.a.

Cette étude porte sur la musique de film des années 1930 en France, durant la décennie qui a vu naître et évoluer le cinéma parlant. Le cinéma de cette période y est appréhendé à travers son statut artistique et son rôle dans la transmission des idées. Dans le contexte de la crise économique et des bouleversements politiques et internationaux qui sévissent, les années 1930 offrent aux artistes, écrivains et compositeurs français, une opportunité de redéfinir leur rôle dans la cité, en intervenant à travers un médium nouveau. Ces circonstances, propices à la définition d’un nouvel engagement en arts, guident le choix de trois films à partir desquels sont analysées les contributions musicales et la démarche du compositeur en lien avec ses motivations et ses attentes face au cinéma. En se penchant sur l’aspect musical de ces films, l’auteure cherche à dégager le rôle de la musique au sein des processus de communication artistiques, dans le but de comprendre les moyens avec lesquels le compositeur défend ses idées tout en collaborant à celles du réalisateur. À quel point l’engagement du compositeur s’arrime-t-il à la réalité de l’industrie cinématographique? À quel point la musique permet-elle l’expression des idées au sein d’un art dont elle n’est qu’une composante? C’est à ces questionnements que cette recherche a voulu donner voix, tout en faisant une place privilégiée à la musique elle-même., The subject of the present study is film soundtracks from the 1930s in France. The music under examination originated during a decade which saw the birth and early development of talking films. French cinematographic productions from this period are examined on the basis of their artistic status and their role in the transmission of ideas. The pandemic economic crisis, combined with international political upheavals, were actual incentives for artists, writers, and composers to redefine their societal role through an innovative artistic medium, and to give voice to new types of artistic engagement. The choice of the three cinematographic works in this study is based on these conditions; their soundtracks are analyzed in relation to composers’ motivations and expectations of what cinema had to offer them. By closely examining the musical components of these films, the author also aims to define the ways in which music, among other artistic communication processes, was a vehicle for composers to defend their own ideas while endorsing those of a film’s director and/or producer. At what point does the composer’s personal engagement coincide with the requirements of the film industry during the period under examination? What are the limitations of the musical expression of ideas, in the context of an art form in which music was only a component part? These questions are at the heart of this study, with the music itself as the primary focus of research., La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

V prvi polovici 20. stoletja so v glasbi vladale tri velike osebnosti: Stravinski, Bartók in Schönberg. Vsi trije so pisali veliko bolj disonantno in ritmično razčlenjeno glasbo kot kdaj koli prej, čeprav so se med seboj zelo razlikovali. Stravinski je bil na čelu t. i. neoklasicistične smeri, vračanja k ravnovesju in jasnosti, Bartók je kot zadnji od skladateljev nacionalne smeri hodil osamljeno ustvarjalno pot, Schönberg pa je zgradil intelektualni sistem 12-tonske glasbe, dodekafonijo. V istem času so drugi skladatelji skušali iskati lastno pot v splošni zmedi. Osvobodili so se omejitev klasične harmonije 19. stoletja in pisali v več tonalitetah hkrati (politonalno), kot na primer Darius Milhaud, ali pa so uporabljali več vzporednih linij. Ob prodoru ameriških jazzovskih ritmov, za njimi pa fokstrota, charlestona in drugih plesov iz 20. let 20. stoletja so vsi evropski plesi postali staromodni. Milhaud in drugi skladatelji so se oprijeli ritmičnih in inštrumentalnih možnosti novih plesnih oblik ter jih vpletli v svoje skladbe. Milhaud je francoski skladatelj, čigar opus skoraj 400 del sega od lahke zabavne glasbe do širokopoteznih operno-oratorijskih del. Bil je eden prvih neoklasicistov, vključno z ostalimi člani »šesterice«. Povezanost šestih francoskih skladateljev v skupino so si pravzaprav izmislili časnikarji, a je te skladatelje kljub temu družila nekakšna enotnost duha. Pod duhovnim vodstvom duhovitega, za samopromocijo nadarjenega in umetniško iznajdljivega Jeana Cocteauja so »Les six« postali sinonim za urban, šaljiv in preračunljivo naiven glasbeni slog. Milhaud je drzno eksperimentiral s politonalnostjo ter latinskoameriškimi glasbili in ritmi, ne da bi pri tem izgubil spontanost in bujen melodičen navdih. V obravnavani Sonatini opus 76 za flavto in klavir se kaže njegovo navdušenje nad brazilsko glasbo in plesom. S sinkopami, trilčki in pasažami pričara pravo poletno vzdušje in ko se poigrava s harmonijo, nemalokrat vnaša v glasbo zametke dveh tonalitet, predvsem elemente gis in fis mola. In the first half of the 20th century there were three major composers: Stravinski, Bartók and Schönberg. They all composed more dissonant and rhythmically analyzed music than anybody before although they differed from each other in their styles. Stravinski was the leader of so-called neoclassicism – the return to balance and clearness. Bartók was alone in his style and Schönberg created a musical system of 12 tones. Other composers of that time were trying to find their own ways in general chaos. They freed themselves from the boundaries of classical harmony of the 19th century and started composing in multiple simultaneous tonalities (polytonality), like Darius Milhaud, or used many parallel lines. When American jazz rhythms and later foxtrot, charleston and other dances of the 1920s became popular, all European dances became old-fashioned. Milhaud and other composers used rhythmic and instrumental possibilities of those new dance forms and integrated them in their compositions. Milhaud is a French composer whose opus of almost 400 compositions includes different types of music – from pop music to opera and oratorio. He was one of the first neoclassicists, so were the other members of »The six«. It was actually journalists who joined six French composers in this group, but they shared some unity of the spirit. Under the mentoring of witty and talented artist Jean Cocteau »Les six« became the synonym of urban, witty and calculably naive musical style. Milhaud was very daring in experimenting with polytonality as well as with Latin American instruments and rhythms, but he didn't lose his spontaneity and rich musical inspiration. His enthusiasm for Brazilian music and dance is shown in Sonatina opus 76 for flute and piano. The summer atmosphere is created by syncopes, trills and passages. When he plays with harmony, he often includes two tonalities, mostly elements of G-sharp minor and F-sharp minor.

International audience; La Création du monde est une des œuvres marquantes de la musique savante contemporaine du début du XXe siècle, fruit d’un des compositeurs contemporains unique en son genre, Darius Milhaud. Maître sans ascendance ni descendance, il s’est distingué tant par sa création luxuriante que par son langage musical atypique et son esthétique néoclassique alors avant-gardistes. Sensible aux bruits familiers, aux paysages environnants et aux musiques paysannes, il aimait les classiques, dont il jouait des œuvres, et était, de façon très marquante, influencé par A. Gédalge (1856-1926), C. Koechlin (1867-1950) et C. Debussy (1862-1918) . Également passionné de poésie, de peinture, il cherchait toujours une inspiration aussi large que possible – affective, physique et mythologique. Intuitif, il a su préserver sa liberté d’action, s’adapter à divers genres, esthétiques et formes des musiques aussi bien élitaires que populaires, qu’il utilisait cependant comme de simples étiquettes de spécificité. Car, pour lui, chaque œuvre appelait un genre au contexte différent, ainsi qu’un style spécial.