MUSICALITY AND MUSICALIZATION OF THE THEATRE - THE HISTORY OF RESEARCH
The article examines the phenomenon of musicalization of the drama theater; the concept is reviewed within the wide historical context; the process of terminology evolution is being traced. Similarities and differences of such concepts as “sound,” “noise,” and “music” are established in a Russian publication for the first time. The literature review on the relevant issue among the Russian-language publications of the 20<sup>th</sup> century as well as among translated-into-Russian texts and English-language texts of contemporary times is undertaken. Among reviewed studies are books of such authors as N.A. Tarshis, O.N. Maltseva, H. Goebbels, H.-T. Lehmann, R. Brown, and D. Roesman. The review allowed to display that processes of the 21<sup>st</sup> century are a logical extension of those appeared in the 20<sup>th</sup> century, and to bring to light when and how specific aspects of the contemporary theater have been generated. The first step to the resemblance of the Russian and European terminological thoughts of theatrical studies is undertaken. The result is the comparison of the different features and capabilities of the current theatre tendency (regarding musicality) as it comprehended and interpreted by different theoreticians: as decomposition of musical structure to the components, either of which becomes individual and essential element in the system of the performance. Sound and voice, composition and features of the specific genre, musicality of the literary material, things and actors, who play roles of musical instruments, and noises, which are included into the soundscape of the performance - all that can become such an element.