The dissertation study is devoted to the Bayreuth Festival (Bayreuther Festspiele), founded in 1876 by the composer Richard Wagner (Richard Wagner, 1813–1883) in order to perform his own work, namely the tetralogy "The Ring of the Nibelung" according to the composer's plan, it has required special stage conditions being embodied in the Festspielhaus. His ideas about reforming art were based on practical experience of his work in various theaters. They were born out of necessity to find the new means of stage embodiment of musica drama, developed by composer most of his life and been theoretically substantiated in a number of works.
The festival went through different periods, determined by general socio-historical changes and the figure of the leader, who determined the stylistic principles of the functioning of the artistic process and repertoire. The festival activity started by R. Wagner leadership on two festivals having been continued by his descendants and acquired new dimensions such as the list of performed works from the artist's attainment, changes in the principles of their interpretation and theatrical and stage means.
The historical prerequisites have been studied in terms of the organization of the festival, prompted R. Wagner to theoretically justify and the need to reorganize art, that been in extremely miserable situation and turned into entertainment, then to actions for the practical implementation of his plan. A quarter of a century had passed from its announcement to the actual implementation. The theoretical works of the composer were based on the experience he gained from his youth, working in various provincial theaters of the German states. Understanding the reasons for the low artistic level of most theatrical groups caused by a number of factors, R. Wagner decided to carry out a reform, the purpose was to create a fundamentally new theater, chosen ancient drama as a reference point by composer. R. Wagner's time as Kapellmeister at the Dresden Royal Opera became a source of experience in managing a large theater institution and contributed to a clearer understanding of the ways to implement the reform, the basics were published in journalism a few years later and became a signpost for the creation of the festival.
Practical actions were considered from point of view to reform the opera and its transformation into a symphonized musical drama, the path from the publication of the theoretical justification to the stages of the successive implementation the innovative program. Composer began to implement his creative idea, starting with writing the literary basis of a large-scale work, which eventually became the tetralogy "The Ring of the Nibelung". The prospects of its production and performance appeared to R. Wagner only after meeting with King Ludwig II of Bavaria, who was an ardent admirer of Wagner's works, expressed his willingness to support and finance his project. Together they discussed the idea of building a festival theater in Munich, the capital of Bavaria. The courtiers and intrigues forced the composer to leave Munich and destroyed his hope of building certain theater intended for the performance of the Tetralogy. While in exile, he was forced to part with the ideas of building a theater, although the king never deprived Wagner of his favor, but the idea encountered difficulties.
The realization of the festival took place in the more modest city of Bayreuth, that was more well-acceptable for artist`s requirements than Munich. The long construction process took place in conditions of extreme financial deficit and more than once found itself on the verge of collapse. It was successfully completed in 1876, when the Festspielhaus opened its doors to visitors who arrived in Bayreuth from various countries. The whole cycle was repeated three times during the first festival. The festival received wide publicity in the international press and became an event of unparalleled artistic importance. The financial shortfall after first festival caused it`s couldn't held for the next five years. The years were used to write and stage “Parsifal” in 1882. The last work of the artist was called "holiday stage mystery", was created taking into account the special acoustic and stage conditions of the Festspielhaus and was intended by the author exclusively for performance here.
