Музичний театр Іспанії XIX сторіччя у річищі культурно-історичних і духовних підвалин Ренасім‘єнто
The musical theater of Spain of the XIX century in the wake of the cultural, historical and spiritual foundations of Renacimiento

Summary/Abstract: The purpose of the article is to reveal the mysterious and symbolic specificity of spiritual Zarzuela in the works of I. Albeniz, M. de Falla and T. Breton in the spirit of the style and style of Renacimiento culture. The methodology of the article is the following approaches: interdisciplinary, historical-culturological, as well as musical-historical and systemic methods that allow you to identify not only the genre-style but mysterious-symbolic aspects of the poetics of spiritual zarsuela in the works of these authors. The scientific novelty of the article is determined by the fact that, for the first time, the materials that generalize the typology of the spiritual zarsuela are introduced into the domestic art criticism. At the same time, the work presents figurative-semantic and analytical generalizations for such models of this genre as «Saint Anthony» by I. Albeniz, «The Short Life» by M. de Falla, «Feast of the Virgin of Paloma» by T. Breton. Conclusions. A generalization of information about the historical paths of development of the Spanish musical theater in the era of Renacimiento suggests that its typology was formed at the intersection, on the one hand, of the traditions of the European theater of the XIX century. and its stylistic paradigms (romanticism, Biedermeier, Verism, Wagner‘s musical theater tradition), on the other - the Renaissance (in line with the stylistic specificity of Kostumbrism) and the creative mastery of the spiritual and typological qualities of the Spanish National Theater and its musical component, the genesis of the medieval culture of Spain. What has been said is also relevant to the typology of spiritual Zarsuela, numerous examples of which in the works of I. Albeniz, T. Breton, M. de Falla are correlated not only with the national «world view» and its archetypes, but also entered into the context of the Spanish «religious fiesta» and associated with her rituals. The essential role of conservatism-traditionalism as the defining qualities of Spanish culture reveals in the works of this kind leveling of the author‘s own beginning, the simplicity of the musical language that genetically goes back to the national cult and spiritual-folklore tradition.

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