Размер шрифта: Фон:

UDC/УДК 791.43
LBC/ББК 85.317
DOI: 10.30628/1994-9529-2018-14.2-136-185

GRIGORY R. KONSON
Russian State Social University, Moscow, Russia

 

ABOUT THE MUSIC OF DMITRI SHOSTAKOVICH IN THE ACCUMULATION OF MEANING OF THE ETHICAL CONCEPT OF GRIGORIY KOZINTSEV’S FILMS “HAMLET” AND “KING LEAR”

Annotation. The article is devoted to study the role of music in the “Shakespearean” films created as the result of the outstanding collaboration of Grigoriy Kozintsev and Dmitri Shostakovich. The article reveals the attitudes of the film director and the composer towards the role of music in cinema, and demonstrates its semantical features, due to which the signification of goes on screen is deepened, which makes it possible to make the sightand sound-related images more expressive more alive and the conception more relief-based. For this aim Shostakovich used not merely a method for depiction of the events on screen, but a well thought out ramified system of musical characterizations, due to which his cognitively capacious and emotionally expressive music within the context of cinematographic works of art obtained the status of a particular participant of an action and became a powerful means for revealing the emotional psychological states of the protagonists, foretelling their fates, in particular, and the development of the plot, in general, and in the outcome—disclosing the authors’ ethnical conceptions, in which Shostakovich’s autobiographical features were also revealed. In such a dynamic comprehension of the works of art, the principles which disclosed their profound tragic meaning and accumulated a new understanding were those of intellectual mounting of the highest order.

Keywords. Hamlet, King Lear, Grigoriy Kozintsev, Dmitri Shostakovich, film director, composer, image, meaning, music, musical theme, intonation, grief, lyricism, vertical and intellectual mounting.