The silver mask : Harlequinade in the symbolist poetry of by Bely, Andrey; Belyj, Andrej; Blok, Aleksandr A.; Blok,

By Bely, Andrey; Belyj, Andrej; Blok, Aleksandr A.; Blok, Aleksandr Aleksandrovich; Soboleva, Olga Yu; Bely, Andrey; Blok, Aleksandr Aleksandrovich

A hugely significant flow in the Silver Age, harlequinade didn't floor in Russian excessive tradition till the flip of the 20 th century, while it without warning started to allure the shut awareness of symbolist authors. within the current paintings, an try out is made to teach that the proliferation of the recent cultural idiom used to be indicative of the basic matters of the time and in detail concerning the advance of inventive concept. even if the topic is taken into account in its cultural totality (visual arts, literature and drama), the paintings is targeted on symbolist poetry. It offers an in depth research of the ‘harlequinade’ verse of Blok and Belyi - best figures of the circulation, in whose writings the symbolist idea stumbled on its adulthood and perfection. The poems in query are conceptually concentrated at the dialectical solidarity of self and other - one of many key-notes within the new symbolist outlook. this is often traced at numerous degrees of poetic illustration: within the imagery method and the rules of textual content building, in linguistic beneficial properties and poetic units hired via the authors. particular awareness is given to the sound association of the poems, which heightens significantly the semantic power of the textual content

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Extra info for The silver mask : Harlequinade in the symbolist poetry of Blok and Belyi

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47 irretrievably undermined the beautiful myth, for the heroes of an ‘orthodox love story’ were seen to have ended in mutual hatred. The artificiality of all social laws and moral conventions that by inertia continued to govern society emerged with exceeding clarity. This idea dominated the minds of the creative intelligentsia and the baroque metaphor of the theatrum mundi (‘theatre of the world’) appeared as a firm basis for their works. In her History of Russian Symbolism, A. Pyman has called this period a crisis of faith,43 and it is not coincidental that in their works symbolist authors took their banner imagery from the domain of harlequinade.

16 Meyerhold found in the grotesque a kind of comic freedom that opened up broader horizons for creative art. His works were impregnated by the values of Hoffmann’s writings and echoed the style of the German author. 17 Meyerhold started his career as an actor when in 1898 he joined the Moscow Art Theatre; later on he continued to play in productions that he himself directed. His work as a performer had a strong impact on Russian appreciation of commedia dell’arte, as well as on the proliferation of Russian harlequinades, but we have to bear in mind that his memorable demeanour and imposing self-presentation also stemmed from foreign roots.

His works were impregnated by the values of Hoffmann’s writings and echoed the style of the German author. 17 Meyerhold started his career as an actor when in 1898 he joined the Moscow Art Theatre; later on he continued to play in productions that he himself directed. His work as a performer had a strong impact on Russian appreciation of commedia dell’arte, as well as on the proliferation of Russian harlequinades, but we have to bear in mind that his memorable demeanour and imposing self-presentation also stemmed from foreign roots.

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