Specifics of Translating the Idea of National Glorification Into the Opera Poetics of B. Smetana (the Case of Opera Libuše)

The purpose of the article is to highlight the phenomenon of glorification as a component of the expression of the national idea in the concept of musical and stage business of B. Smetana’s opera Libuše, which is relevant to the contemporary postmodern and postpostmodern cultural process. The research methodology is based on the interdisciplinary integration of objective (historical genetic, cultural-typological, comparative) and personality and priority-oriented (scientific reconstruction, theoretical modelling) research methods. In terms of theoretical understanding of the problem raised, the author has used the conceptual issues of P. Florensky, O. Losev, E. Durkheim, and B. Asafyev. Accordingly, analytical, historical-descriptive, comparative-stylistic, interdisciplinary and comparative methods determine the principles of considering the composition of B. Smetana’s opera Libuše. The scientific novelty. For the first time in Ukrainian cultural studies and art studies, attention is focused on the cultural phenomenon of worship as a component of the expression of a national idea in a compositional solution to the musical and stage business of B. Smetana’s opera Libuše. Conclusions. A conception of the spiritual, semantic and dramatic specificity of B. Smetana’s Libuše allows us to put forward the concept of quasi-liturgical filling of the named work, the poetics of which reveal creative and ideological parallels with the stage performance of Ruslan and Lyudmila by M. Glinka as a “Slavic liturgy” (according to B. Asafyev), and with Wagner’s musical and theatrical heritage and his mythological and poetic teaching, and with the passion of J. S. Bach the Pietist, who had recognised the contact between Lutheranism and the Byzantine liturgical practice