A MASK IN THE PRODUCTION OF S. PROKOFIEV’S OPERA “THE LOVE FOR THREE ORANGES” AT CXID-OPERA IN 2019

Statement of the problem. In the practice of modern theatre, particularly in the performances that have long-lasting history of production, any component of director’s vision might be conceptualized, regardless of how important it might be seen traditionally. Thus, it becomes even more important to highlight main principles of such conception, to prove its rationality on the basis of both scholars’ works and real-life performance tradition. In the production of S. Prokofiev’s opera “The Love for Three Oranges” at CXID-OPERA (Kharkiv, 2019; chief conductor – D. Morozov, stage director – A. Kaloyan, artistic director – A. Baitenova, chief choirmaster – O. Chernikin), an extremely important role belongs to masks which are used by actors of all levels, from the protagonist to the characters who are on stage for no more than a minute. Analysis of recent researches demonstrates that S. Prokofiev’s “The Love for Three Oranges” has been studied thoroughly both in the composer’s homeland and abroad, especially given it was premiered in the USA. Scholars’ attention has also been brought to V. Meyerhold’s interpretation of C. Gozzi’s fairy-tales, including his director’s version of “The Love for Three Oranges”. The multiple relationship between S. Prokofiev’s opera and la commedia dell’arte as well as the very phenomena of Italian theatre have been examined. However, there is no research on how the use or refusal to use masks might influence a production and how it helps to establish a hierarchical relation between the characters. The purpose of the article is to identify the meaning and function of the use of masks in the genre-plot system of S. Prokofiev’s opera “The Love for Three Oranges” in CXID-OPERA’s production based on its visual imagery analysis. Results and conclusions. It is found out that the director’s use of the mask in creating the stage image of most of the characters allows him to further emphasize the genetic relation of the opera to la commedia dell’arte. Only a few characters appear on stage with an open face – Ten “Ridicules” (Cranks), Magician Tchelio, Fata Morgana and La Cuisinière (Cooky) – namely, those whose presence is not provided by the genre canons of la commedia dell’arte, those who do not “bow” to the plot-line but who are in control of it so or otherwise. The costumes of these characters differ from the outfit of the rest; in each case this contrast is conditioned by the character’s status and its role in the plot (for instance, Les Ridicules are the only ones wearing modern-day suits with bowties which allow to comprehend them as a mirroring of the spectators who watch the opera at a given moment). Thus, the use of a mask has a dual function: to demonstrate the genre genesis of the plot and to illustrate the hierarchy of the opera characters.