DOI: 10.36871/hon.202201008
Authors
O. M. Plotnikova
Magnitogorsk State Conservatory (Academy) named after M. I. Glinka, Magnitogorsk, Russian Federation
Abstract
The article investigates the semantics of the game cultural code and its verification in the polycode system of W. A. Mozart's opera "Don Juan". The concept of "game", which reflects the linguistic picture of the world, is considered as the basis of the meaning-generating structure of the code. The semiotic methodological approach becomes the key to the cognition of various, contiguous and interacting with each other information levels of its functioning. Reconstruction of the game cultural code represents historical and contextual space of the opera as an essential element of the author's artistic text. In the extra-musical projection, the game is the basis of the philosophical discourse of the Enlightenment and the dominant of the Austrian national culture. It is attributed as the composer's lifestyle and artistic worldview. The game cultural code reveals the author's idea of the artistic spatial and temporal solution of the opera's scenography, projects the dramaturgical development of artistic images and intercultural communications between them. The study of the phenomenon of playing in binary oppositions reveals the mythological principles of the composer's thinking and the cosmogonic matrix of the opera concept. The study of the multi-stage "ladder" of contexts allows to understand the mechanism of the semantic game case formation and to comprehend the semiotic system of "Don Juan" as an integral part of the broader semiotic structure of musical culture.
Keywords
cultural code, the concept of "game", W. A. Mozart, "Don Juan", semiotic method of analysis
