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SOURCE:    Historical, Philosophical, Political and Law Sciences, Culturology and Study of Art.
Issues of Theory and Practice
. Tambov: Gramota, 2013. № 10. Part 1. P. 187-190.
SCIENTIFIC AREA:    Study of Art
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Fedorovskaya Natal'ya Aleksandrovna
Far Eastern Federal University

Abstract. The article deals with the role of opera shows fragments in the musical. It is established that they are not random insertion elements, and perform the major meaningful and plot-defining function while giving ideological integrity to the performance. It is shown that our society, despite the disapproval of moral vices, accepts them and justifies, but at the same time shows no tolerance for the hero possessing hideous looks. The plots of opera shows are projected on musical drama, making its semantic implications deep enough.
Key words and phrases: "Призрак оперы", мюзикл, Э. Л. Уэббер, оперные постановки, "The Phantom of the Opera", musical, Andrew Lloyd Webber, opera shows
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  2. Ignat'ev F. I. Endryu Lloid Uebber kak fenomen sovremennoi khudozhestvennoi kul'tury: avtoref. diss.. k. iskusstvovedeniya. SPb., 2004. 25 s.
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  6. Hogle J. E. The Undergrounds of the Phantom of the Opera: Sublimation and the Gothic in Leroux’s Novel and its Progeny. N. Y.: Palgrave Macmillan, 2002. 368 p.
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  10. Webber A. L., Hart Ch., Stilgoe R. The Phantom of the Opera (piano-vocal score). Parts I-II. N. Y.: RNH, 2010. 303 r.

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