Музичний спектакль для дітей як результат агрегації мистецтв

In modern art practice, in particular of children’s theater, a special place is occupied by synthetic genres, which combine different kinds of art. In the studies on children’s theater, we do not find coverage of methodologically important problems related to the classification of types of children’s musical spectacle considered as a result of interaction (aggregation) of its components: musical, theatrical, choreographic, etc. The goal and the innovative element of this work are identification and classification of the main types of children’s musical spectacles created by aggregation of arts and the methodological basis of such categorization. We considered it appropriate to change usual term “synthesis” on the term “aggregation”. It most accurately reflects the special kind of diffuse interaction of different kinds of art in children’s spectacle, resembling the aggregation of chemical elements or the eponymous method of computer programming. Introducing this term into the artistic world, we had to refer and to the concept of “system” with its attributes, such as functionality and hierarchy. The analysis from the standpoint of the system-functional approach allowed identifying the leading components in the artistic integrity of the children’s performance, the main factors of its stability and success. Such factors can be either theatrical or musical, and it is the principle of the predominance of one or another, we have taken as the basis of our classification. We distinguished the main varieties of children’s musical spectacle:1) musicaldramatic (with the dominance of the theatrical component); 2) dominantly-musical (opera and its varieties); 3) dominantly choreographic (ballet and its varieties); 4) mixed or synthetic (modern musical); 5) immersive or interactive (which provides feedback from the audience and actors). The classification is illustrated with both, the classical samples (children’s opera “Goat-Dereza” by M. Lysenko, children’s ballet “Small Stork” by D. Klebanov), and the modern works (the musical “Mowgli” on J.R. Kipling by V. Stashinsky, the play-promenade by O. Sozonov and I. Shagalov on O. Afanasyev’s fairy tales). Concluded, that a multilevel system of the children’s musical spectacle, with the dominance of the features of one or another art, in the modern artistic space-time, can have unique genre and stylistic qualities, especially in the light of modern directing experiments. Therefore, in the further, each of the samples requires a separate analysis, in particular, the Ukrainian children’s musical plays, in the context of the traditions of domestic opera, operetta and vaudeville, and modern progress of national culture.