Історія та мистецтво: множинність режисерських інтерпретацій вагнерівських творів на сцені Байройту

The stages of development of the principles of productions of R. Wagner's works at the festival founded by the composer in the city of Bayreuth have been examined. It is shown that the concept of "art of the future" was only partially realized by the author in practice, while the lifetime productions carried out at the Bayreuth Festspielhaus became a factual continuation of the theatrical tradition of that time. The leading role of Adolphe Appia in proclaiming new approaches to the implementation of Wagnerian works has been highlighted. It is determined that his ideas, aimed at purging the stage of superfluous elements and developing the action based on music, became the key principle of directing from 1951, embodied by the composer's grandchildren. The situation in which the festival and the figure of the artist became elements of Nazi regime ideology has been described. This factor being noted as an additional condition thus necessitated a radical renewal of visual stylistics and principles of implementing festival performances in the post-war period. It has been clarified that starting from the 1970s, the practice of inviting directors allowed new ideas to be introduced into festival productions, diversifying the principles of interpretation of works and themes that reflected the social and political realities of the time, as well as reinterpreting the historical experience of the festival and the figure of the composer. The significance of the 1976 production of "The Ring of the Nibelung" by Patrice Chéreau being substantiated, as it became the starting point for new directorial explorations. It was revealed that subsequently, themes of power, oil, political confrontation, and historical cataclysms became some of the most frequently reproduced on stage and remain relevant today. The productions of Frank Castorf, Barrie Kosky, Kazimier Julian Kratzer, Wagner Schwartz and Jay Scheib have been examined and analyzed, they were created in accordance with the current demands of the time, themes, and issues of contemporary society, historical experience, and ways of understanding it. It is proved that in recent years, the use of multimedia elements become important, forming a complex of expressive means that opens up new interpretations of the plot, complements reality, and expands the spatial boundaries of the performance.

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