PASSWORD 'ROGER'. THE HERO OF KAROL SZYMANOWSKI'S OPERA 'KING ROGER' IN TADEUSZ MICINSKI'S THEATRE OF THE SOUL
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Although the significance of Micinski in the development o the composer's imagination is generally known, the comments contained in the correspondence of Szymanowski and writings of Iwaszkiewicz suggest that this issue should be examined more closely. The author states that the composer introduced a double layer into the theatrical form of 'King Roger' on purpose: to denote the external layer, linked to the stage plot, and the truly important, internal, spiritual layer. According to the author, Szymanowski clearly followed Micinski's idea of the theatre, and the latter's aesthetic and spiritual ideas, such as the vision of the theatre as the temple of the soul, a place of man's spiritual growth, was similar to the composer's views. His opera fits into the framework designed for this genre by the symbolists; it is a symbolic and symbolist work, where the author created his own total theatre of the soul.
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