On the organization of sound space in "The Tidings brought by Mary" by Paul Claudel, 1912 edition

Azarova Valentina Vladimirovna ORCID: 0000-0003-1049-2259 Doctor of Art History Professor, Department of Organ, Harpsichord, and Carillon, Saint-Petersburg State University 199034, Russia, Saint Petersburg, Universitetskaya Naberezhnaya 7-9 azarova_v.v@inbox.ru Other publications by this author

 "... the word itself, the language itself, is undoubtedly a sounding, sound reality. But the sound of language is not the sound that music deals with. It is a sound that is irresistibly directed to meaning, to a direct reference to something else in the real world."

                             (O. A. Sedakova. Sound)

"The Good News of Mary" (1912–1955) — a mystery in four acts with a prologue by the great poet, playwright, thinker, member of the French Academy Paul Claudel, revealing the intersection of the themes of Christian self-sacrifice of the pious Virgin Violena and veneration of the Blessed Virgin Mary. Central in spiritual, emotional and intellectual depth, the work of Claudel's literary heritage summarizes the principles of his theoretical concept of theater, the role of stage music in drama, the essential aspects of the synthesis of poetry and music, light and color. The "Good News of Mary" reflected the Christian idea of the synthesis of time and eternity par excellence.

The Mystery of Claudel is among the dramatic and musical-theatrical works, the plots of which echo the texts of Sacred History, the "Golden Legend"; the life of the Most Pure Virgin Mary is told by the plots of frescoes by Giotto, Cimabue, Perugino, Duccio di Buoninsegna, Vigoroso da Siena, etc. The traditional appeal of the masters of the arts to theological texts, legends and traditions was determined by A. F. Losev as "Christian historicism" ^{[1, p. 294]}. Claudel's "Good News of Mary" belongs to the Christian tradition of the centuries-old development of the mystery genre, originating from the "Mystery of the Passion of Christ" presented in Rouen (1310); Claudel's work, created more than six hundred years later, occupied a central position in the drama of the twentieth century.

About the editions of the Claudel Mystery

"The Good News of Mary" — opus magnum, existing in three editions. The first and second versions of the drama "The Young Virgin Violena", from which the first edition of the mystery "The Good News of Mary" grew in 1912, were created in the period 1892-1899. After the first productions of the mystery in 1912 and 1913, Claudel twice revised the text and structure of the work. The second and third, the last, editions of the mystery of 1938 and 1948 led the playwright to a different solution to the problem of stage music than in 1912.

In each of the existing editions of the Good News of Mary, the dramatic center and culmination of the development of the action of the mystery is the second scene of Act III, containing the sacrament (during the midnight liturgy of the Nativity of Christ, the miracle of the resurrection of the child occurs). The playwright marked the participation of heavenly forces and "voices of heaven" in the named event by introducing vocal and declamatory fragments in liturgical Latin into the dramatic action.

The structure of the "Good News of Mary". About the premiere of the mystery

In the first edition of 1912, the mystery "The Good News of Mary" consists of a prologue and four acts; acts I and III contain two scenes each. Acts II and IV include 5 scenes each (in the 1938 edition, act IV was reduced to two scenes). An authoritative scientist, honorary professor at the University of Bordeaux, author of a study on the fate of the mystery genre in Western Europe from the Middle Ages to the turn of the XIX — XX centuries, Charles Mazuere defined the third action of the mystery "The Good News of Mary" as an act of miracle (l'acte III. L'acte de miracle) ^{[2, pp. 175-184]}.

The premiere of Claudel's work was successfully held in Paris on December 12, 1912, on the stage of the Evre Theater, which was led by its creator — the famous actor and stage director Aurelien Marie Lunier-Po (1867-1940), who sought to convey the meaning of a literary text, to present a generalized vision of the essence of human relations.

Lunier-Poe recruited Jean Variot, a specialist in the field of scenic architecture, who is in the service of the Evr Theater. The light-color "score", created in 1912 by Jean Variot, was inspired by the discoveries of Alexander von Salzman (1874-1934), an emigrant from Russia who successfully worked in Germany, an authoritative theatrical figure.

In 1912, the musical accompaniment to the "Good News of Mary" was written by Abbot Bren, the author of works of sacred music, who was among the professors of the Schola Cantorum, the second higher educational institution after the conservatory in Paris. The composer, as well as the production directors, fulfilled Claudel's order in accordance with the specific requirements of the latter.

It can be assumed that the organization of the sound space in the prologue of the mystery "The Good News of Mary" in the edition of 1912 forms both the rhythm of the narrative and the compositional logic of continuous musical and dramatic development in the dramatic culmination of the work (Scene 2 of Act III, the sacred space of the mystery). The movement of the word and meaning allows us to determine the features of the synthesis of verbal and vocal elements, to characterize the dramaturgy of sound, the sound space of the mystery as a theatrical and musical genre.

Prologue. The "super-plot" and the main line of the dramatic action of the mystery

Claudel followed the method of "branching" the artistic concept of the mystery into separate lines, creating in the prologue one dialogical scene of the end-to-end development of dramatic action. The multifaceted composition of the named scene is based on the intersection of the "super-plot" with the main plot lines of the mystery drama. The "super-plot" of the work reveals the meaning and characterizes the atmosphere of the joyful event of the Nativity of Christ for the Christian world. The angel Gabriel, sent from God, greeted the Blessed Virgin Mary with the words: "Rejoice, gracious one! The Lord is with you; blessed are you among women" (Luke 1:28). The appearance of the angel Mary is described in the book of the New Testament, which speaks of the upcoming birth of the Baby Jesus (Luke 1:31).

The renowned theologian, Dominican monk, contemporary of Thomas Aquinas, James of Voraginsky (c. 1230-1298) compiled a written interpretation of the event in the text "The Nativity of our Lord Jesus Christ in the Flesh" ^{[3, p. 39]}. The authoritative researcher V. G. Rokhmistrov, the author of the translation from English (2012) and the introductory article to the publication of the book by Jacob Voraginsky in Russian (2016), pointed out that the creator of the named fragment of the "Golden Legend" relied on a corpus of theological texts, oral traditions and stories: "About one hundred and thirty sources have been identified" ^{[3, p. 7]}. I. Voraginsky analyzed the theological works that were widespread at that time, among which are the works of Bernard of Clairvaux, Anselm of Canterbury, Hugh the Great. I. Voraginsky managed to convey the meaning of the festive event of Christmas, in which the Christian idea of the synthesis of time and eternity is woven into the metaphysical description of the picture of the world. The nature of the narrative is lyrical: "When the Son of God was born in the flesh, the whole world rejoiced with such quiet joy that even the sole rule of the Roman emperor proceeded quite peacefully. Such was the will of God; the material world by the time of His Nativity began to live in joy, for He appeared to give us peace both in time and in eternity" ^{[3, p. 40]}.

The meaning of the Christian idea, formulated by I. Voraginsky six centuries ago, was reflected in the mirror of Claudel's mystery drama "The Good News of Mary". The main storyline of the multifaceted composition of the mystery reveals the features of Christian behavior and the feat of holiness of the main character — the young virgin Violena. The "general plan" of the dialogical scene from the prologue of the mystery reveals the author's desire to penetrate into the depths of the soul of his beloved heroine. The meaning and joy of young Violena's life is the faith that led her to self-sacrifice in the name of Christ. In this regard, Claudel's judgment about the transformations produced by faith is noteworthy: "Faith disposes drama not only in life, but also in Death, it builds the highest form of drama: Sacrifice" ^{[4, p. 456]}. The above thought is reflected in the development of the mystery drama "The Good News of Mary".

The author's commentary included in the prologue text reveals the semantic subtext of what is happening, and also contains poetic, psychological and sound characteristics of the elements of space and time.

The structure and main themes of the prologue

Analyzing the sequence of stage situations of the prologue, we can conditionally distinguish ten verbal episodes continuously following one another, each of which performs certain functions. Semantic, spatial-sound, dramaturgical and formative functions make up the complex, thanks to which Claudel established connections between the episodes of the prologue and the episodes of the I — IV actions of the mystery. (We are talking about the mutual distribution of elements in the process of deploying an integral artistic form of the work).

In the prologue of the mystery, the contours of the mystery drama are discernible. In the episodes of the dialogue, there is a through line of divergence "in different directions" (Claudel's formulation) of the life paths of Violena and the builder of churches Pierre de Kraona. Central to the prologue is the theme of Christian piety and the deep faith of the main character. (Heeding her mother's advice, Violena will refuse the groom appointed to her by Jacques Yuri, yielding to his sister). Violena voluntarily sacrifices her life to Christ.

In the prologue, the religious and philosophical theme of the deep inner connection of each living creation with its Creator was developed. The understanding of this topic is presented in the remarks of Pierre de Kraona: based on reflections on the truths of the Holy Scriptures, the hero came closer to understanding the purpose of his own life.

The "inner theme" of the prologue of the mystery as a synthetic theatrical genre is the sound space, the sound palette. The authoritative music historian Jules Combarrier defined the genre basis of the mysteries as follows: "These are dramas in which there is music" ^{[5, p. 314]}. The problem of changing the functions of music in the synthesis of genre elements of the mystery of the XIV – XVI centuries is investigated in our article "French mystery drama in the mirror of the twentieth century" ^{[6, pp. 54-72]}.

Liturgical Latin in the episode "Angelus" from the prologue

A generalized characteristic of the sound space of the mystery is contained in the second episode of the prologue in Latin, the beginning of which marks "the sonorous and pure first beat of the Angelus". The sound of a bell suddenly heard in the air marks the beginning of matins read in the monastery: "Angelus Domini nuntiavit Mariae" ("The Angel of God announced Mary") ^{[7, p. 19]}. Alternately reciting the Regina C?li prayer accompanied by the ringing of bells, Violena and Pierre de The Kraons bring in their hearts the glorification of the bodily incarnation of Jesus addressed to the Queen of Heaven: "For truly the Lord is risen. Hallelujah!" ^{[7, p. 20]}. The resurrection of Christ from the dead led his followers to understand the truth about eternal life.

Claudel noted the elements of sound characteristics in the episode "Angelus": Violena says a prayer, "folding her hands and turning her face to the sky, in an amazingly transparent, soulful voice" ^{[7, p. 19]}. Pierre de Kraon "almost in a whisper" concludes the prayer with the words about the eternal stay of Christ in the world. Both make the sign of the cross over themselves. Revealing the initial development of the "super-plot" of the mystery, the prologue contains the spatial and sound elements of the characteristics of the liturgical episode performed in Latin. The call to rejoicing: "Rejoice and have fun, Virgin Mary, Hallelujah!" performs various functions in the prologue. The prayers Regina C?li from the prologue and Salve Regina (introduction to Act II) have a common meaning. The dramatic function of these prayers addressed to the Virgin Mary consists in affirming the idea of the invisible presence of the image of the Queen of Heaven in the space of the action of the mystery. The Regina C?li prayer in the prologue of the mystery thus performs spatial-sound, dramatic and compositional functions.

In the final version for the stage (1948), the sound space of the Regina C?li prayer (prosody), at the request of Claudel, was transformed into a choir with the leading part of a solo soprano. The composer Maria Scibor (Claudel's daughter) created the chant Regina C?li, laetari, laetari thematically connected with the finale of the mystery ^{[7, p. 285]}. As a result, the spiritual dimension of the mystery acquired a conceptual generalization in the space of liturgical fragments intoned in Latin.

Features of the lyrical climax of the prologue

The lyrical climax of the prologue (seventh episode) of "The Good News of Mary" contains a figurative characterization of the sound space. Pointing her finger up, Violena draws the attention of Pierre de Kraon to the sonorous song of a lark, whose outstretched wings resemble "a brilliant cross, the likeness of seraphim" ^{[7, p. 35]}. Comparing the singing of the lark with the voices of the seraphim singing before the throne of the Lord, the heroine says with enthusiasm: "Hear how it rang four times in a row — ding! Ding! Ding! Ding! — soaring higher and higher?" ^{[7, p. 35]}. Pierre de Kraon, reading in Violena's soul, answers: "Sing in the heavenly heights, the lark of France!" ^{[7, p. 37]}. The characteristic of the sound space in the mystery is connected with the development of the image of the songbird. In the prologue, this image harmoniously interacts with the image of Violena, full of love and joy of being.

The peculiarity of the lyrical climax of the prologue is that it is based on the juxtaposition of contrasting elements. The sound image of the lark singing in the sky is in motion: the lark rushes upward, into the heavenly heights, as if pointing the way to the discovery of the image-symbol of the metaphysical plane. This is a comprehensive image of the Eternal Bird from the verses of Psalm 90/91, integrated by Claudel into the lyrical climax of the mystery: "He will overshadow you with His wings, and you will find a hiding place under the shadow of His feathers" (translated by S. S. Averintseva) ^{[8, p. 57]}.

Let us note the effective nature of the dramatic technique of comparing contrasting elements of the profane and the sacred, which forms in the lyrical climax of the prologue of the "Good News of Mary" a theme of a metaphysical nature — "an infinitely connected world" (the verbal formula of the poet, translator, researcher, philologist, Doctor of theology O. A. Sedakova) ^{[4, p. 454]}. The above poetic formula reveals the theme of the interrelation of all elements in the metaphysical picture of the world. First of all, we are talking here about the interaction of God and the world, the Creator and creation, characteristic of the mystery genre. Calling the Psalms of David and the Holy Scripture as a whole "a model of a special kind" for Claudel, the researcher summarizes: "The Bible is inspiration itself <...> seriousness, strength and eternity" ^{[4, p. 453]}.

The peculiarity of the lyrical climax of the prologue of the mystery is that Claudel integrated into the system of images of the mystery drama a symbolic description of the comprehensive image of God presented through the prism of the biblical text (psalm), thereby revealing the intersection of the lines of the "super-plot" and the main action of the mystery. Here the theme of the relationship between the world and God is being developed. Forming a dramatic rhyme with the finale of the mystery drama "The Good News of Mary", the named theme gives unity to the artistic concept of the work.

The end-to-end theme of bells in the mystery drama

In the eighth episode of the dialogue scene of Violena and Pierre de The icon from the prologue is further developed by the sound image of the bells. Violena's interlocutor believes that the ringing of the bells of Monsanville and Reims on the wedding day will remind her of the bitter loneliness of the church builder; the lover rejected by Violena regrets the upcoming wedding of Violena and Jacques Yuri.

The variable theme of the chiming of bells, chosen by the playwright as the leitmeme of the prologue, appears in the key moments of acts I — IV, and in the dramatic climax of the mystery, the theme of bells takes part in the rhythmic and intonational organization of the sound space. The named theme forms a semantic rhyme with the finale of the mystery (the fifth scene of act IV). The researcher of Claudel's creativity, Pascal Lecroar, noted that in the 1912 production, "the sound component was supplemented by a glockenspiel, which reproduced the bell ringing" ^{[9, p. 47]}. Thus, Claudel preferred the refined timbre of the percussion instrument of the symphony orchestra (bell) to the sound of church bells on stage. In the space of the stage, the playwright found the sound of church bells unacceptable, since the playwright perceived the ringing of the carillon in the open airspace of the bell tower as the voices of symbolic "intermediaries" between the earthly representatives of the human race and the disembodied forces of the heavenly host of the Lord.

The closed-form liturgical episode Regina C?li and the open fragments with the participation of the carillon, structuring the sound space of the mystery, perform a formative function in the development of the action: from the prologue, the sound characteristics of the invariant theme of the bells go to the dramatic climax (scene 2 of act III), as well as to the finale of the mystery drama (scene 5 of act IV). The episodes in which the theme of the bells varies reveal the development of the spiritual dimension of the mystery, affirm the mystical idea of the interaction of the heavenly and the earthly, the sacred and the profane.

Variation on the theme of the songbird in the first act of the mystery

The voice of a songbird is a variable semantic and spatial—sound element that was developed in scene 3 of the first act of the mystery. A child's voice from afar carries the words of the song: "The Oriole sings, / Bites cherries, and gives us bones!" ^{[7, p. 88]}. Including a child's voice in the action of the mystery, Claudel, as can be assumed, predicted the development of the theme of Violena's miraculous resurrection of the child in the dramatic climax of the mystery and its completion in the death scene of the main character (scene 5 of Act IV). Saying goodbye to Jacques Yuri forever, the dying Violena revealed a secret to him. The daughter of Jacques Yuri Aubin rose from the dead in the arms of Violena on the festive night of the Nativity of Christ. Violena, who remained a virgin, suddenly felt the beating of a new life then: "And suddenly my life began to clog with a key, and my dead flesh blossomed!" ^{[7, p. 231]}. In scene 3 of act I, the invisible image of a child is present in the development of the main storyline of the mystery. Violena was not destined to become a mother; she was destined to embark on the path of Christian self-sacrifice. Violena's feat of Christian humility is comparable to the life feat of the Blessed Virgin Mary.

In scene 3 of act I of the mystery, in the final monologue of Anna Vercora (owner of Combernon Farm), the sound image of the oriole — a forest songbird - was developed. Going on a journey, the old man, surrounded by his household, says goodbye to everyone. He entrusts Jacques Yuri with taking care of the women and the entire household. Varying the theme of the songbird stated in the prologue of the mystery, Claudel created a variation on the theme of the songbird, the image of movement.

The appearance of the image of an oriole in Anna Verkor's monologue is preceded by the author's remark "Silence" ^{[7, p. 88]}. The pause performs spatial-sound and dramatic functions in the development of the scene of the patriarch's departure from home. Communicating a new rhythm to the development of the mystery action, the pause concretizes the meaning of what is happening: a metamorphosis is taking place in the habitual way of life of the inhabitants of the farm. "We have heard more than once: the true word is born out of silence. I would like to add that this silence has the form of sound: it is not an empty silence, but a kind of pre—threshold sound," the poet, translator of the "Good News of Mary" O. A. Sedakova shrewdly noted ^{[10, p. 205]}.

The sound of a child's voice singing about an oriole reveals in the "Good News of Mary" a special kind of mystical synthesis of metaphysical elements of space and time. Along with the symbolic figures of time (a child, an old man), there is a spatial and sound image of movement (the oriole songbird). The characteristic of the sound space of the named song is inextricably linked with the content of the lyrical and philosophical monologue by Anna Vercora.

The color and sound palette of the characteristics of this image is revealed by the initial remark of Anna Vercora's monologue: "The oriole whistles — golden on a rose tree!" ^{[7, p. 88]}. This phrase marks a turn in the development of the mystery plot. Going on a journey, Anne Vercors utters a kind of parable in front of the household. His words convey deep life wisdom: "What is she singing about? That at night the rain, like gold, fell on the ground / After a long heat. About what else? That it is necessary to cultivate the land diligently. And about what else? That the weather is fine, God is great and there are still two hours until noon" ^{[7, p. 188]}. Claudel gave the patriarch's soulful speech the form of a lyrical and poetic utterance, which is derived from a children's song. This statement forms a semantic rhyme with the main theme of the completeness of being from the lyrical climax of the mystery (Scene 3 of Act II, the love explanation of Violena and Jacques Yuri).

Let us note the dramaturgically symmetrical scene of Violena's departure from the house (scene 5 of Act II), which Claudel characterized by a remark of a spatially noisy, expressive nature: "Mara, take all my things!", Violena shouts ^{[7, p. 144]}. The accompanying gesture of Violena, spreading her arms, "as if looking for support," has the appearance of a crucifixion, which causes an association with the image of the crucifixion of Christ. Claudel's attitude to the method of the actor's stage embodiment of acute and painful sensations is indicative. This method is distinguished by restraint. "If you can't do without screams, they will have a much greater effect if they are rare," the playwright argued ^{[11, p. 43]}.

About the sound space of the second action of the mystery

Like the prologue, the beginning of act II of the Good News of Mary reveals the intersection of the "super-plot" and the main line of development of the mystery drama. Act II opens with the liturgical fragment Salve Regina, mater misericordiae ("Hello, Queen, Mother of Mercy"). As mentioned above, the liturgical episodes Regina Soli (prologue) and Salve Regina reveal the presence of the image of the Blessed Intercessor, the Blessed Virgin Mary in the space of the mystery. The symbolic meaning of the juxtaposition of the images (the Blessed Virgin Mary and the Virgin Violena aspiring to God) is stated here, as in the prologue of the mystery, in the spatial and sound plane. Intonated in the form of prosody, the stanza of the prayer Ad te clamamus, exsules, filii Hevae reveals the meaning associated with the motive of exile from Paradise: "We, the exiled daughters of Eve, cry to you" ^{[12, p. 174]}. The above fragment forms a semantic rhyme with the scene of Violena leaving her home infected with leprosy. Jacques Yuri thought that his fiancee had leprosy, having cheated on him with Pierre de Violena's mother, her sister Mara and Jacques Yuri show no compassion for Violena's misfortune, and she sacrifices her life for her sister's happiness. Jacques Yuri will become Mar's husband.

The Salve Regina prayer "a female voice from heaven" is delivered "from the top of the highest tower of Monsanville" ^{[7, p. 193]}. Salve Regina is a spatial and sound form of characterization of the image of the Blessed Virgin, placed by the playwright at the nodal point of the action of the mystery. The prayer addressed to the image of the Queen of Heaven at the beginning of Act II and the affirmation of the idea of compassion for the main character by the Blessed Virgin in the finale of the same act form the frame of its semantically unified vocal-dramatic form.

In the 1912 edition, Abbot Bren entrusted the performance of the Salve Regina prayer to the parts of the solo soprano and choir. Noteworthy is the remark of the researcher Jacques Madol, who compared the roles of women and children in the mystery of Claudel with the role of the Choir in Greek tragedy ^{[13, p. 87]}. Note the presence of the mystery vector "earth — sky" in the sound space of liturgical fragments in Latin. Forming a semantic rhyme with the vocal-dramatic episodes from Scene 2 of Act III, the Salve Regina prayer performs a dramatic function in the work.

The second act of the "Good News of Mary" in the edition of 1912 reveals the evolution of the principles of interaction of temporal and spatial-sound dimensions, which led Claudel to the modern implementation of the synthetic genre of the mystery.

The principle of integrating the vocal-dramatic (liturgical) fragment of Salve Regina into the composition of the second act of the mystery proved fruitful for the further formation of Claudel's dramatic strategy, which approached the solution of the problem of synthesis of elements of music and drama.

About the "musical principle" of stage speech in the sound space of the mystery

Thoughts about the correspondence of certain types of sound space design to certain stages of the development of dramatic action are often found in the body of Claudel's research on theater, in theoretical articles about art. In this regard, the playwright's statement seems relevant: "Thanks to sound, we begin to directly experience realities that are usually accessible to our mind only with the help of the world of dimensions: speed, distance, high, low, long, intermittent, straight, slope, heavy, light, simple, complex, etc. ... We transform, we create space with the help of duration, and the physical world with the help of materiality. Between these sounding points and lines we establish some connections, some comparisons" ^{[14, p. 28]}.

In 1912, the sound of the voice of an actor interested the playwright to a much greater extent than the musical accompaniment of the play. Claudel attached the main importance to the speech intonation, demanding a lowering of the voice towards the end of the phrase and the exact observance of the caesures indicated in the text. We are talking about the design of sections of dramatic form, called cadences in a musical composition. Personally attending the rehearsals of the "Good News of Mary", Claudel explained to the actors the technique of transitions (modulations) in stage speech: from the usual conversational manner of pronouncing words and phrases, it was necessary to imperceptibly move to recitation; from recitation — to prosody, which included elements of intonation; prosody turns into singing. The success of performing these modulations depends on the mastery of the breathing technique; the change of breathing occurs during the caesura. The orderly alternation of pauses forms the rhythm of the spoken text. The dynamic factor of stage speech, as well as its "expression parameter" is the intensity of sound production. "A pleasant voice with a clear articulation and a distinct combination that it forms with other voices in the dialogue already constitute a pleasure for the spirit, acting almost independently of the abstract meaning of words. <...> When you listen to the speaker, it is easy to notice that at some changeable point, usually located closer to the middle of the phrase, his [actor's] voice rises, and by the end it falls again. These are the two tempos, together with the modulations mediating them, which form my verse," Claudel wrote in the article "A few thoughts on how my dramas should be played" ^{[11, p. 43]}. The method of acting, which is discussed in this text, Claudel called "the musical principle" ^[11]. It can be assumed that Claudel's idea of the technique of modulations in stage speech, as well as the synthesis of elements of the sound palette in a theatrical performance, was formed under the influence of productions of the Oriental theater.

About Claudel's passion for Oriental theater

In 1895, Claudel was in the diplomatic service in China (Shanghai, Fuzhou). The famous French writer Andre Mauroy described the geographical "stage" on which the author of the "Good News of Mary" was located: "He traveled all over the world, the whole earth. He lived in New York, Boston, China, Japan, Hamburg, Brazil, at the end of his career he was the French ambassador to Tokyo, Washington, Brussels" ^{[15, p. 423]}.

In the productions of the Japanese Noh theater, Claudel distinguished the magic of influencing the audience, created by combining symbolic elements of dance poses, gestures and sound design of performances. According to the characteristics of the researcher of the musical culture of Japan N. F. Klobukova (Golubinskaya), individual episodes of performances in the Noh theater are invariably accompanied by the performance of instrumental pieces, as well as songs with or without accompaniment: "The instrumental score of the performance, thus, reacted to each stage event and accompanied it in a special way. <...> the sound solution of Noh performances was a very complex interweaving of instrumental music, singing and stage speech performed by actors" ^{[16, p. 267]}. The peculiarity of speech consisted in countless nuances characterizing the transitions from verbal episodes to vocal and sound-imaginative episodes.

Some of the conventions of the design of the sound space, discovered by Claudel in the productions of traditional Japanese theater, are reflected in the mirror of the mystery in the edition of 1912. It should be noted that Claudel's studies of the principles of the Oriental theater continued during the 1930s and 1940s, so the last two editions of the mystery are not devoid of elements of magical influence on the viewer, characteristic of the Oriental theater.

In the book "Mes id?es sur le thtre" ("My thoughts on the theater") Claudel researched the features of productions at the Osaka Puppet Theater (Bunraku), from which the Kabuki drama originated. In the work "Theater No", the playwright paid attention to the problem of stage music, which is dominated by percussion instruments: "Two double tambourines in the form of an hourglass: one small, which the musician holds on his right shoulder, and the other large, located on the musician's left shoulder. The tambourines are sharply struck with outstretched fingers, and a dry explosive sound is heard" ^{[11, p. 47]}. One flute is added to the noise design of the stage space, which Claudel called the "funeral flute", emphasizing, as it seemed, the ritual belonging of this instrument. However, under the pen of Claudel, there is a passage that reveals the researcher's deep penetration into the meaning of the space-time continuum of stage action: "Percussion instruments set the rhythm and movement, the funeral flute brings to our ears modulations reflecting the passing of time — the dialogue of time and the moment unfolding behind the actors' backs. Their coordinated sounds are often joined by long screams issued by musicians in two tones — low and high — hoo-koo, hoo-koo. All this creates a strange and dramatic impression of space and remoteness — as if some voices were heard in the fields at night, formless calls of nature, or the cry of some animal struggling to get to the word; these are infinitely disappointed impulses of voice, desperate attempts, painful and vague evidence" ^{[11, p. 47]}.

In the mirror of the mystery drama "The Good News of Mary" in the edition of 1912 (Act IV), there is a reflection of the spatial and sound elements of the Japanese theater, which are discussed in Claudel's theoretical studies.

On the movement of sound and meaning in the Fourth act of the Mystery

In scene 1 of act IV, Mar's silent and wordless movement takes place in a room illuminated by the reflections of a fire in the hearth. Scene 2 opens with the author's commentary, in which the characteristics of the sound space accompany the change of situations. The sound of the horn arises from afar: once, then a second time. Claudel notes laconically and with restraint: "Exclamations. The commotion at the farm. Then the sound of the gate opening and the creak of the wagon entering. A knock on the door" ^{[7, p. 208]}. The voices of the characters sound restrained. The author's commentary on scene 3 contains the sounds of Jacques Yuri's "deaf" sobs. The sound space of scene 3 and the subsequent final scenes of the work structures a sequence of pauses included by the playwright in the dramatic dialogue of the dying Violena and Jacques Yuri.

The silence of the heroes who look at each other reveals the presence of an invisible character named Death. A long pause serves as a transition from scene 3 to scene 4 of act IV. In scene 4, Claudel included only one noise characteristic of the sound space. Anne Vercors, who has returned from a journey, "knocks on the table with a staff" ^{[7, p. 240]}.

In scene 5 of action IV, the characters' reserved intonation lines alternate with the author's remark "silence". An element of the sound design of the scene is noise — the sound of a hammer indicates the preparation for the funeral ritual of Violena. The silence is broken by the soft scuffling and laughter of the child Mara. Claudel included an unnamed "child's voice" and "indistinct distant voices" in the sound space of scene 5 of Act IV ^{[7, p. 253]}. These elements echo the elements of the characteristics of the sound space in the oriental theater. For example, in the performances of the Noh Theater, where the profession of an actor is traditionally inherited, boys were taught acting from the age of twelve and brought to the stage to participate in performances.

The author's remark "Flocks of pigeons are circling in the sky" brings into action the spatial and sound image of movement: the birds "separate and descend into the pasture" ^{[7, p. 253]}. Note the frequent mention of the dove in the text of the Old and New Testaments. The symbol of the Holy Spirit — the dove — descended on Jesus Christ during baptism (Matthew 3:16). The movement of the meaning of the mystery, as in the finale of Act I, is directed towards the center where God is located. "The angelic radiance, which does not know dying, came from our unfortunate sister," Pierre de Kraon, speaking of Violena.

Pause and the "knocking of the roller" and "creaking of the gate" coming from afar — spatial and sound elements that go back to the images of loneliness and longing in the works of Chinese and Japanese poets. These elements are organically interwoven into the scenic action of the final scene of the mystery ^{[7, p. 266]}.

The sound space in the finale of "The Good News of Mary" is filled with lyricism. Claudel included in the action a verse of the folk song "Margarita from Paris". A child's voice coming from the garden is heard by Anne Vercors, Jacques Yuri and Pierre de Kraon: "Margarita, clear May, / Give me your shoes, /I'll go to Heaven in them!" ^{[7, pp. 266-267]}. As in the lyrical climax of the prologue, in the finale of the mystery, Claudel uses the technique of contrasting spatial and sound elements. After the song "Margarita from Paris", the playwright introduces a characteristic of the emotional state of Jacques Yuri, in whose soul a soundless cry is heard — "the cry of an open grave" ^{[7, p. 267]}. The playwright likened a special kind of sound characteristic of the situation to a ritual (symbolic) gesture indicating the place of the last shelter of a person. The synthesis of gesture and meaning belongs to the field of genre codes of mystery, which is characterized by "syncretism" (the term of A. N. Veselovsky).

The action of the mystery is completed by the spatial and sound characteristic of the image of "cracked bells", the ringing of which is heard very close. Kolkol Monsanveda calls "Angelus" ^{[7, p. 271]}. Noting the deformed nature of the sound of the carillon's voices, Claudel introduces a generalized semantic motif of loss: the broken voices of the bells announce the death of Violena. The author's comment contains a detailed description of the elements of the sound space: "The third stroke of the sisters' bell. Then the bell rings. Pause. Then a distant and almost indistinguishable triad is heard in the air" ^{[7, p. 272]}. The semantic overtone of expectation (a new sound) is introduced by Claudel in the final commentary of the mystery drama. The motive of expectation associated with the final characteristic of the sound space of the mystery in the edition of 1912, once again finds reflection in the "Good News of Mary" one of the central themes in the sense of the dramatic plays of the Japanese theater No. In the commentary to the final scene of the mystery, Claudel pointed out that the bell sound expected by the characters did not sound ^{[7, p. 273]}. The author's commentary revealed, thereby, the dominant principle of discrete design of the sound space of the mystery in the edition of 1912.

On the continuity and discreteness of the sound space of the Claudel Mystery

Reflecting on the nature of the stage music created by Abbot Bren for the staging of the mystery in 1912, Claudel noted: "As for the music for the "Good News" <...> this is the concept of separately performed numbers that always interrupt the action and destroy the stage effect" ^{[17, p. 123]}.

Analyzing Claudel's theoretical concept of the theater, the authoritative researcher of his work, professor of the University of Franche-Compt? Yehuda Morali drew attention to the defect noted by the playwright in the organization of the sound space of the mystery: "Folk song, bells, trumpet sounds, liturgical choirs ... all this sounds like separate, alternating elements that only meet the needs of the text, and [at the same time] they [elements] are mentioned in [Claudel's] comments" ^{[18, p. 90]}.

During the 1910s and 1920s, Claudel's idea of music in the mystery drama was transformed: instead of musical fragments of an "applied" nature, the playwright saw a new organized sound space of the mystery. The novelty consisted in the playwright's attempt to follow the principle of continuous development of vocal-dramatic action in the composition of scene 2 of act III (the sacred space of the mystery).

The organization of the sound space in the 2nd scene of act III

In the composition of the second scene of act III, an introduction (author's commentary) can be conditionally distinguished, followed by ten episodes of different scale and dramatic functions. Revealing the sphere of the formation of the dramaturgy of sound, verbal episodes 1 — 2, 4, 6 and 8 contain an organized sound space; episodes 3 and 7 are subordinated to the logic of musical-dramatic development; musical-dramatic episode 5 has a synthetic organization of sound space. Before episodes 9-10, there is a connecting element of the composition in the form of an author's poetic commentary, which performs a formative function in the named scene. The comments on episodes 1 and 9 form a dramatic rhyme, providing a constructive unity of the musical-dramatic form of the scene in question. The organization of the sound space in episodes 9-10 follows the logic of the continuous development of the action. Thus, in the 1912 edition, the composition of the second scene of the third act of the "Good News of Mary" is based on the interaction of theatrical-dramatic and musical structural elements. The "Miracle Scene" includes two musical and musical-dramatic episodes.

In addition to the second scene of Act III — the "miracle scene"

A detailed poetic commentary — a verbal nocturne, which opens the second scene of the third act of the "Good News of Mary", contains a description of a twilight winter forest, through which the sisters Violena and Mara walk in silence, leaving footprints in the snow. Claudel notes the expressive features of the night landscape and landscape: a sparkling moon, a hill covered with heather, blocks of white sandstone, similar to prehistoric animals or bizarre sculptures of idols. Violena, blinded by leprosy, has a grave-like "cramped cave where you can only sit" ^{[7, p. 146]}.

Episode 1

The sisters' dramatic dialogue takes place by the light of a torch lit by Violena in the cave. There is a heart-rending scream of Mara over the corpse of the child that she brought to Violena. Mar's initial remarks include a wide range of intonations: crying, sighing, shouting, exclamations, a bitter smile, a question, a plea. A complex of various intonations characterizes an extraordinary situation: Mara demands Violena to perform an action subject only to the will of God or a saint — to bring a dead child back to life. Claudel deepened the meaning of Mar's remarks by making expressions from the Holy Scriptures in the heroine's speech (Genesis 4:9-10).

Listening to her sister's words, Violena exclaimed: "I swear, I proclaim and swear before the Lord: I am not a saint!" ^{[7, p. 190]}. The meaning of the dramatic dialogue is conveyed by the frenzied sobs and imperative exclamations of Mar. Violena answers her: "Do I mean anything? Do I command God? Am I like Him?" ^{[7, p. 191]}. The mention of God brings shades of humility, confession and prayerful reverence into the heroine's speech. The heroine's questions, which have a metaphysical meaning, do not require an answer. The intonations of humble obedience to the will of the Savior that sound in Violena's questions reveal the existential experience of the heroine.

Researcher of the history of theater, professor of the Catholic University and the Catholic Academy in Milan, Dr. A. Cascetta rightly noted that the sound structure of the speech tissue indicates the divergence of the paths followed by Violena and Mara; also, the named structure indicates the difference in their tragic experience ^{[19, p. 14]}.

Mara's repeated demand to return her a living child is interrupted by the author's remark: "pause". The sign of silence placed in the zone of psychological tension, at the culmination of the dialogue, marks the transition to a new stage of the development of the action.

Episode 2

The sound space of the episode under consideration is characterized by the author's comment: "Distant, barely discernible bell ringing" ^{[7, p. 191]}. Violena, who was expecting to hear the Christmas gospel, speaks about the beginning of the midnight liturgy. Mara continues to insist on the impossible, demanding the return of her living child.

"Again, very clearly, the bell is ringing," notes Claudel ^{[7, p. 192]}. This commentary conveys new shades in the sound of the bells announcing the beginning of the liturgy of Christmas. Mara can distinguish the ringing of bells heard from neighboring villages. In honor of the Blessed Virgin Mary, the bells ring "Gloria" ^{[7, p. 193]}. Violena, sharing Mara's grief, hid the dead child under her cloak. "It is not the time for tears, when salvation has been born for all people," Violena admonishes her sister. Her heart, aspiring to heaven, is open to prayer.

For the third time, a bell is heard, "but not so distinct" ^[7]. Repetitions of the author's commentary on the bell ringing perform a structuring function in the sound space of this episode. These repetitions allow for an analogy with the principle of symphonic generalization of musical material in a work, when the intonational integrity of the composition is achieved on the basis of repetition of an invariant rhythm-intonation complex "at a distance".

Pointing to the book of Holy Scripture, Violena encourages her sister to begin reading the festive canon of the liturgy of Christmas. Mara, taking the book, reads the prophecy of Isaiah (Isaiah 9:1). The deep connection of Claudel's dramatic plots with the texts of Holy Scripture as a key regularity of his artistic method was manifested in the artistic text of the "musical poem" "Jeanne d'Ark at the Stake" (1935-1944), on the basis of which the dramatic oratorio of the same name by A. Honegger was written. The named poem and Onegger's dramatic oratorio are connected with the mystery "The Good News of Mary" by a roll call of plot motifs, as well as a common spiritual meaning. The text of the prologue of the dramatic oratorio contains the translation of quotations from the Holy Scriptures. This feature of the playwright's creative method is noted in our article (2019) ^[20].

During the reading, Violena listens, raising her head. In the development of the action, the playwright again included a clarification characterizing the sound space of the mystery: "Silence. The voices of angels in heaven, intelligible only to Violena" ^{[7, p. 195]}.

Episode 3

The dialogue / musical responsory performed in Latin opens with the part of the male choir, followed by the part of the soloist (treble). Considering the choral fragments in the mystery "The Good News of Mary", the famous researcher of Claudel's work Pascal Lecroar pointed to the dramatist's implementation of the tradition of choir performances in Greek tragedy; in the same article we are talking about the presentation of the parties of the "liturgical choir" taking part in the festive mass on the occasion of the Nativity of Christ ^{[9, p. 47]}.

The introduction of a musical fragment — responsory into the dramatic action as a structural element rooted in ancient genres (liturgical drama, miracle, mystery), led to a comparison in the "miracle scene" of the plans of the past and the present. The dialogue in liturgical Latin, containing the genre code of the mystery of the Middle Ages, reveals in the composition of the second scene of act III from the mystery "The Good News of Mary" the meaning of the interaction of time dimensions: from the Birth of Christ to the XV century (the time of the play), and from it to the XX century.

The named dramatic principle of the second scene of Act III from Claudel's mystery "The Good News of Mary" was translated into a composition written by A. Honegger based on Claudel's poem of the dramatic oratorio "Jeanne d'Ark at the Stake", in scenes I, III, V, VII — IX and XI of which the genre basis of the mystery is manifested. The features of the musical dramaturgy of the named work are investigated in our article (2020) ^{[21, p. 35]}.

Claudel's indication of the tempo of the liturgical chant in the "Good News of Mary", as well as the author's definition of the type of cadence, reveal a subtle understanding of the musical meaning and musical structure of the festive mass of Christmas. Alternately performed by the "invisible" (located in the wings) choir and soloist, the musical element of the composition refers to the initial section of the midnight liturgy. The vocal part of the male choir contains the canonical text: "Now peace descends to us from heaven, now the heavens are oozing honey for the whole world" ^{[7, p. 195]}. The "Single Voice" (treble) continues: "Now the day of new redemption, ancient rebirth, eternal bliss has shone upon us" ^{[7, p. 196]}. The playwright clarified in a note that the soloist has a timbre similar to a child's voice. The choral repetition of the initial phrase: "Now for the whole world, the heavens are oozing honey" indicates a two-part reprise of the musical form of the initial section of the responsory. The pause (silence) indicated by Claudel in the presentation of the Latin text marks the boundary between the musical and dramatic episodes of the second scene of act III ^{[7, p. 196]}.

Episode 4

The interrelation of theatrical-dramatic and musical structural elements characterizes the overall composition of the second scene of act III. The musical episode of the Latin responsory is followed by a verbal episode of the dramatic dialogue between Mar and Violena (in French). Multilingualism distinguishes the sound space of the scene in question. By comparing intonationally contrasting episodes performed in different languages, Claudel avoids monotony in the development of the drama of sound; the parameters of the intonation characteristics of the sound space are the shades of speech intonation. At the beginning of the dramatic dialogue, the narrative intonations of Violena's colloquial speech dominate, prompting Mara to continue the canonical reading of the central section of the liturgy of the Nativity.

A fragment of Sister Violena's reading of the sermon of St. Leo, the Pope, is characterized by a recitation with elements of psalmody. The text of the sermon speaks of the joy of all Christians at the hour of the Savior's birth. The register of the narrative changes here, because the meaning of what is said has a universal meaning. In the sound space of the episode under consideration, speech modulation is detected: the narrative intonations of Mar's speech are replaced by recitation with elements of intonation (prosody). The researcher A. Beretta mentioned the paramount importance of the acting skill of "vocalization" of speech after the playwright himself ^{[22, p. 572]}. The dramaturgy of sound, the intonation sphere of speech recitation, has always remained the central sphere of concentration of Claudel's professional interests throughout his career.

The speech modulation is accompanied by the author's commentary containing dynamic designations and an indication of the methods of sound production: "The sonorous and prolonged trumpet sounds are very close. Loud clicks are heard from the forest" ^{[7, p. 197]}. Mara also exclaims, "The King! The King of France!" ^[7]. We note the spatial comparison of dynamic plans and differentiation of the dramatist's use of elements of the characteristic of sound space: "Again the inexpressibly exciting, solemn and triumphant sounds of trumpets" ^[7].

The indication of modulation in Mar's speech reveals the intonation strategy of Claudel, who determined the dynamic shade of "in a low voice" in Mar's remark: "The French king is riding to Reims"; thus, the playwright pointed to the transition from prosody to the narrative intonations of ordinary colloquial speech. It can be assumed that Claudel adopted the technique of voice modulation, exploring the principles of staging Japanese Kabuki theater, where the text is read in a singsong, in a given rhythm and with accompaniment. In the Kabuki Theater, the roles of the actors are fixed. "Everyone is prescribed their own manner of performance and voice modulations, their own costume, their own makeup," said G. Chkhartishvili, author of the introductory article to volume I of the Japanese Theater edition ^{[23, p. 23]}.

In "The Good News of Mary", the sound space of the next fragment of the sisters' dialogue in episode 4 is characterized by three author's remarks: "Silence. Silence <...> silence" ^[7]. "Silence is an important aspect of the play's sound palette," researcher A. Beretta noted ^{[22, p. 572]}. Just as silence in M. Maeterlinck's symbolist dramas conveys the depth of meaning of what is happening, pauses in the "miracle scene" from Claudel's mystery "The Good News of Mary" take part in discovering its spiritual meaning.

Episode 5

In this episode, there is a comparison of the verbal and vocal narrative plans: the reading of the Mara about the depth of Divine wisdom alternates with the singing in Latin of an invisible choir and a soloist performing a fragment of the liturgy of the Nativity in the form of a responsory. The choral part contains the glorification of the Blessed Virgin, "who in her womb was honored to bear our Lord Christ" ^{[7, p. 198]}. In the part of the soloist (treble), who enters after the singing of the choir, a prayer proclamation addressed to the Most Pure Virgin Mary is set forth: "Rejoice, gracious, the Lord is with you" ^[7]. The choir repeats the words of the prayer canon after the soloist. The end of the dialogical musical fragment is marked by the author's indication: "pause" ^[7]. The interaction of time dimensions, as in the third episode, is manifested in the compositional center of the "miracle scene", in the process of comparing theatrical-dramatic and musical fragments performed in different languages. Vocal intonation in liturgical Latin alternates with speech recitation in French. The art of intonated meaning (music) interacts with the art of verbal intonation and psalmody, forming a musical-dramatic rhythm-intonation space of the second scene of the third act of the mystery. Liturgical phrases in Latin invariably retain the status of "undying elements of the archaic" (M. M. Bakhtin's expression).

Episode 6

The dialogue of the sisters (in French) contains the dramatic climax of the second scene of Act III, in which the repentance of the bitter grief of Mara takes place. "Violena, I am not worthy to read this book! <...> I'm too stubborn and I regret it. I would like to be different," Mara admits ^{[7, p. 199]}. The author's remark "silence" eloquently expresses the playwright's idea of the deep mystery of the human soul, revealing the continuity of the principles of Claudel's intellectual theater with M. Maeterlinck's symbolist theater. Mar's words reinforce Claudel's thought about the depth of Violena's repentance, which has long followed the path of humility and sacrificial love for one's neighbor.

Starting to read the Gospel of Luke, Mara conveys the sound atmosphere of the corresponding section of the church service (the sisters get up, then sit down). The reading of St. Gregory's homily is accompanied by the author's commentary revealing the dynamics of Mara's mental states — excitement, humility and prayerful reverence; Claudel consistently notes the appearance of new elements of the sound space: "From afar for the last time — trumpets" ^{[7, p. 200]}. The overtones of brass wind instruments sounding in the open air and the prosody of Mara form an intonation alloy in the sound space of this episode that is heterogeneous in timbre composition.

The author's designation "Angelic Singing" introduces into the sacred space of the mystery "The Good News of Mary", organized as a sequence of musical and dramatic episodes separated by pauses. In the "miracle scene", the interaction of temporal dimensions, temporal multidimensionality, is asserted as the dominant parameter of the drama of the mystery. It is about comparing the categories of past and present, death and immortality, time and eternity.

Episode 7

The musical part of the Liturgy of the Nativity represents its culmination in the form of an expanded responsory in Latin, with a section of the glorification of the Blessed Virgin Mary —Gloria. In the sound space of this episode, a special kind of interaction of elements is formed: intonations of the author's voice, which determine the meaning of the commentary, and intonations of enthusiastic rejoicing of the choir and soloist performing responsories in liturgical Latin ^{[7, p. 201]}.

The musical fragments of the responsory are structured in accordance with the instructions of the playwright about the separation of vocal fragments by long pauses. The intonations of psalmody, solemn proclamations and rejoicing characteristic of liturgical singing are included in the responsory chants based on the development of the melodic modes of the Gregorian chorale. The pause as a semantic unit of the musical fabric performs, at the same time, a formative function at the border of the musical and theatrical-dramatic sections of the continuously developing action.

Episode 8

The theatrical and dramatic part of the climax of the second scene of Act III of the "Good News of Mary" conveys a mystical sacrament - the resurrection of a child by Violena. The moment of the miracle is marked by the author's remark: "Suddenly a muffled cry" ^{[7, p. 203]}. The sound space of the "miracle scene" is characterized by a quiet astonished exclamation of Violena: "Ah!" ^[7].

In the sacred space of the mystery "The Good News of Mary", a remarkable feature of the musical and theatrical dramaturgy of the twentieth century is confirmed: the lyrical intonation of the author's voice is joined to the voice of the main character, revealing the meaning of the commentary: seven consecutive author's remarks characterize the changes in the psychological state of Violena and Mar.

Claudel subtly conveyed the interaction between the picturesque/symbolic elements of the landscape and the manifestation of the sisters' enthusiastic amazement: "The first glimpses of dawn are in the sky" ^{[7, p. 203]}. Christmas morning brought a miracle happening in front of the sisters. The development of the dramaturgy of sound reveals a wide range of intonation complexes that convey shades of surprise, delight and prayerful appeals to God. The meaning of the dramatic dialogue between Violena and Mara is revealed during Violena's solemn proclamation: "A baby was born to us too!" ^{[7, p. 204]}. Quoting the Holy Scripture, the heroine moves from recitation to prosody: "I proclaim to you great joy...". The author's voice / comment accompanies what is happening: "A naked child's leg is shown from under the cloak" ^[7].

The restrained intonations of Violena's speech, solemnly quoting verses from the New Testament, convey the deep meaning of the sacrament of Christmas. The universal significance of the event is that a bright joy appears in the soul of every person at the news of the birth of the Baby Jesus. The remark of the main character asserts the relevance of the verse from the Gospel of John: "Because man was born into the world!" (John 16:21). Taking the girl from Violena's hands, Mara exclaimed: "She is alive!" ^{[7, p. 205]}.

Lyrical and poetic painting of the cold dawn as a commentary

The transition from the climax to the finale, episodes 9 and 10 of the second scene of the third act of the mystery "The Good News of Mary", is a laconic author's commentary — a verbal description inspired by Claudel's poetic imagination: "Violena goes out and takes a few steps on the heather. At the first rays of a cold dawn, frosted trees, birches and pines are visible, and in the distance, at the edge of a snow-covered plain, a tiny silhouette of the five towers of Monsanville clearly looms in the clear air on the top of the hill" ^[7]. In the composition of the second scene of the third act of the mystery, the above commentary and the nocturne painting with a verbal description of the winter forest from the introductory section to the first episode form a dramatic rhyme. The lyrical intonation of the author's voice is here a "generalizing intonation" (V. N. Kholopova's expression), the defining semantic element of the sound space.

Episode 9

Prayerful praise to the Lord, the final section of the liturgy of the Nativity, reveals the convergence, interaction of the spatial vectors of the mystery, its "earthly" and "heavenly" dimensions. "Peace to the people on earth!", Violena proclaims; Mara joins her voice. "The face of the Father appeared to the renewed and comforted earth," concludes this episode of the second scene of act III of the mystery, the replica of the main character ^{[7, p. 206]}. The sound space of this fragment is dominated by sublime poetic recitation.

Episode 10

The remark "silence" marks the boundary between the previous and final episodes of the "miracle scene". Musical and dramatic rhymes are found in the organization of the sound space: the sound of the bells of Monsanville, ringing "Angelus" in honor of the Blessed Virgin Mary, forms a roll call "at a distance" with the sound of the bells in the second episode of the "miracle scene", as well as with the beginning of the prologue of the mystery ^{[7, pp. 191-193]}. The voices of the bells participate in the structuring of the sound space of the second scene of Act III from the mystery "The Good News of Mary".

After making the sign of the cross, Violena begins to read a prayer. The intonations of psalmody and prosody join the sound of the bells. The noisy sobs of the resurrected child, as well as intonated questions, exclamations and Mara's prosody saturated with expression represent the expanded sound range of the final episode of the "miracle scene".

The sign of silence that precedes Mar's final remark performs the function of detecting the meaning of a supernatural event. "Ah! Where did she get a drop of milk on her lips?", — Mara wonders, intently peering into the face of her daughter Obena ^{[7, p. 207]}. The girl's eyes, black from birth, like Mar's, turned blue, like Violena's. Having performed the miracle of the resurrection of Mar's daughter, Violena shared motherhood with her sister. The phenomenon of virgin motherhood allows for the comparison of the image of the sanctity of the main heroine of the mystery with the sublime image of the Blessed Virgin Mary.

Turning to the conclusions, we summarize:

In the 1912 edition, Claudel considered the structural sections of the second scene of Act III from The Good News of Mary as theatrical-dramatic / musical-theatrical forms; the composition of the scene in question is based on the interaction of verbal and vocal rhythmic-intonation elements. In the "miracle scene", the principles of the dramaturgy of sound operate: Claudel combined rhythmic-intonation complexes of speech elements (reading, narration, recitation, prosody), sound signals (trumpet, horn) and the ringing of bells. Together with the vocal intonations of psalmody, solo and choral singing, noise elements (shouts, exclamations, exclamations) are included in the organization of the sound space.

In the sound space of the second scene of Act III from the mystery "The Good News of Mary" in the edition of 1912, Claudel developed the dramaturgy of sound — a strategy of speech modulations, the basis of which is musicality, harmony of sound elements.

·    The intersection of the "super-plot" and the lines of the main plot plan reveals the strategy of concentrating semantic accents in the sound space of the mystery. The general organization of the sound space in the mystery edition of 1912 has a discrete character. At the same time, the idea of the interaction of verbal elements of stage speech and the corresponding elements of the sound space allows us to detect a vector indicating the process of forming a new quality of synthesis of words and music in the "Good News of Mary".

·    The mirror of Claudel's mystery reflects the principles of sound design of dramatic productions of traditional Japanese theater (Bunraku, Kabuki, No), as well as images of poetry of China and Japan.

·    In the sound space of the "Good News of Mary", the semantic and dramatic functions are performed by the verses of the songs "Oriole sings" and "Margarita, clear May!" performed by children's voices.

· The sound space of the "miracle scene" characterizes the rhythmic alternation of the sounding word and silence; pauses are semantic units of the musical-dramatic whole.

· In the composition of the "miracle scene", the author's comments are endowed with formative functions, which also perform a dramatic function: the lyrical intonation of the author's voice is the defining semantic element of the sound space.

The organization of the sound space in the second scene of act III from Claudel's mystery "The Good News of Mary" in the edition of 1912 led to the renewal of the composition and dramaturgy of the ancient mystery genre, making the universal meaning of the mystery of the twentieth century eternal.