Practical Significance of the Opera's Verbal Component in the Context Regarding the Development of Director's Theatre in the 20–21st Centuries

The question of the expediency of using the original language in opera as the only correct version of performance is debatable and has now acquired the character of an intersectoral and creative debate. The question becomes relevant when the opera is staged in a country where the language of the original libretto is incomprehensible to the vast majority of listeners, and there is a problem of conveying the idea laid down by the author to a wide range of listeners. There are different approaches to this issue – in terms of the convenience of the vocalist, in terms of public inquiries, in terms of the intentions of the composer and, finally, in terms of tasks and goals of the director. If the first three aspects have previously been covered in separate scientific and popular science publications, the director’s approach requires detailed research to substantiate. The purpose of the research is to identify and substantiate the main directorial approaches to the word as a means of conveying the idea and the necessary psycho-physical tools of the actor in opera, as a syncretic genre. The scientific novelty of the research is the first study of the practical aspects of such a phenomenon as a dialogue between the author and the audience from the standpoint of the director’s embodiment of drama. Research Methodology. Methods of theoretical generalization and analogy are used. The object of research is the issue of textual accessibility of foreign opera classics for the director’s dialogue with the public. The subject of the research is the stage solution of the opera text from the position of the co-author of cultural creativity – the director. Conclusions. In the “director’s theatre” in the twentieth century, the interpretation and choice of the opera language fall on the latter. Since the actor’s expressiveness, from the director’s point of view, is impossible without an instant understanding of the opera’s drama, the integrity of the hero’s image is achieved only by a close connection between the art of the body and the stage word, which is difficult if performing an opera in a foreign language. Thus, the language available to the spectator is the only way to overcome operatic conventions and a means for the director to achieve a hypertextual dimension of drama. It is in this expression that the phenomenon of “eternal dialogue” arises