INTERACTIVITY AS THE MAIN INTERPRETIVE FEATURE IN PERFORMANCES OF E. SATIE'S “VЕХАTSIONS”

Abstract

Relevance of the topic. Addressing the works of Eric Satie in the Ukrainian musical space is a rather rare phenomenon, despite his recognition in Europe. Some of the composer's works require a special performance conditions that do not fit into the framework of an ordinary concert. Vexation is such a work. Despite the debate about the artistic value of this composition, today this work is becoming relevant precisely because of its originality, a simultaneous combination of simplicity and complexity. The first, but so far, unfortunately, the only performance of this work in Ukraine took place in 2016, but it did not receive any scientific assessment. Therefore, the study of the artistic and aesthetic features of E. Satie's «Vexation» is seen as an urgent task of the proposed article. The aim of the research is to study the interpretive possibilities of «Vexations» by E. Satie and to identify signs of performing and listening interactivity. Methodology. The article uses analytical, source and comparative research methods. Scientific novelty of the work. On the example of E. Satie's «Vexations», interactivity is considered as a characteristic feature of the interpretation of a work, which is expressed in the presence of a special type of communication between performers, as well as between performers and listeners The proposed analytical material is introduced into musicological circulation for the first time. Conclusions. The main directions of the interactive interpretation of the composer's text «Vexation» are highlighted: «authentic» and «creative», the latter, in turn, branches out into improvisational and individualised-compositional types. The considered examples of reading «Vexations» acquire special interpretive features that can be called interactive, because each performer influences the final result of the work, on the one hand, remaining within the previous convention, and on the other hand, going beyond it, changing E. Satie's work and its content. Interactivity becomes a way of perceiving this music, because the listener has the right to choose when to start and when to finish listening. Thanks to the use of technical means of reproduction, without which it is impossible to perform this work today, the listener has a direct influence on the structure and sequence of the composition, thus turning from an active listener to its «passive» performer.