Musical representation of the female archetype in the works of A.M. Bakshi

The study is devoted to the study of three sound projections of the female archetype, which have developed in the experimental work of the Moscow composer A.M. Bakshi. The purpose of the work is to identify stable models of the formation of female types in the musical components of a post-dramatic performance as the leading lines of dramatic development. The dynamics of musical images expressing the attitudes of deep structures are expressed by the model of the muse and the inspirer at the early stage of creativity, by the ideas of sacrifice at the mature stage, and by the type of enchantress in the culminating works. In the process of study, the defining means of the embodiment of female images in their stage organization are established. As indicators of stability, the models of female images have common features conveyed through ostinato figures, the softness of second-tone intonations, and the hanging incompleteness of endings. At the same time, the dynamic and changing features are unique each time, depending on the composer's thinking and the context of the composition. The method of analysis of compositions is based on identifying the defining principles of musical and sound implementation of images, comparing them, and systematizing them. The article outlines the features of the approach to the embodiment of musical material in the theater, which represents female stable types. The nature of the play and its dramaturgy determine the figurative content and development, particularly the symbolism of female characters. The scientific novelty lies in the study of the musical embodiment of the archetypal foundations of female images that have been formed throughout the composer's work and embody the fundamental traits of the female character. As a result, the relationship between basic stable structures, determined by archetypal nature, and forms of musical expression in the author's specific stage works has been revealed. The conclusion is made about the features of the embodiment of female archetypes in the conditions of modern post-dramatic theatre.