Symbioza muzyki i dramatu – czyli kompozytor w teatrze (cz. III)

The article, in essence a corollary to previously published articles on play production, puts particular emphasis on the musical setting and its author. The analysis of play production demonstrates that music, though secondary to speech, has a vital role to play in theater. This, in turn, imposes specific demands on the music director, which are necessary in order to allow for an efficient cooperation with other artists involved in the production: the director, the composer, the stage designer and the choreographer. This is followed by a discussion of issues related to performance and to possible modifications introduced to the play after its premiere, as well as to psychological and artistic phenomena apparent at that stage. The issue of cooperation between distinct groups involved in play production is given particular attention. A closer look at the roles played by the conductor and the music director in a drama theater allows to determine that their work indeed demands a high degree of professional aptitude in the musical, psychological and educational domains, as well as strong interpersonal and adaptive skills. It can, however, also prove to be an extremely rewarding endeavor, providing an outlet for artistic expression and a vehicle for ideas, as well as stimulating personal, intellectual and artistic development. The article discusses the limitations inherent in the process of music production in theater, but primarily emphasizes the benefits, such as, notably, the emergence of a new artistic value, which come from the symbiosis between the two domains of endeavor.