Lubok, lubok principles and synesthesia in Stravinsky's ballet «Petrushka»

The importance of such notion as Russian lubok article discusses for Stravinsky's music and creativity of Kandinsky is discussed in the article. The importance of lubok as an impulse for creativity both of the artist and the composer is stressed. Both lubok and lubok principles stimulate emergence of synesthesia or intersensory associations. The role of synesthesia in the organization of lubok picture is set. The author believes that a positive and creative use of archaic artistic means in the lubok, taken as a basis of transition to non-objective painting of Kandinsky correlates seaming with the apparent spontaneity and originality of composite solutions in the works of Stravinsky. Allegories of the lubok picture is similar to allegory of the meaning in many works of the composer. The article gives an idea that the lubok can be considered a visual representation of the convolution of the farcical theater. The organization of "amusing scenes" in musical paintings includes such indirect signs of the formation of musical figurativeness as: choice of the respective themes, iconic symbolism of each element in the lubok, brightness and theatrical images, mask also embedded in the lubok. Synesthetic interpretation of mass celebration scenes in Stravinsky's ballet "Petrushka" is proposed. Intersensory signs of resonant-phonic and compositional levels of the musical text connected with the specifics of lubok are taped. Principles of image incarnation are embodied in two levels - resonant-phonic and compositional. The resonant-phonic level includes: graphicness of orchestral lines similar to the graphics of lubok, a combination of microelements in the musical texture, correlated with the saturation of the lubok fine details; - diversity and brightness of orchestral colors and exquisite timbre weaving; in some cases deliberate simplicity of the melodic line bordering with primitivness. Lubok painter building patterns are considered from the point of view of arched, installation, timbre layering compositional level. In the context of the fourth scene "The dance of coachmen and grooms" is interpreted as a dynamic center of the dance suite, as well as the scene of "The masked" and the death of Petrushka. The special rhythmic complexity and isolation of episodes within the scene are interpreted as a separation of elements which the main feature of presentation theater according to Meyerhold. The analysis made reveales the general properties of synesthesia thinking of Kandinsky and Stravinsky. Complex lubok signs gives graphic quality to both Stravinsky's music and Kandinsky's paintings through bright timbre specificity of composer and picturesqueness of hard delineated lines of the artist. Archaism embedded in the lubok painting is applicable to amusing scenes as well as to the nature of the icon-painting of Kandinsky's pictures. Mounting lubok image becomes an impulse for a special organization of artistic paintings of both the artists.

Keywords

Authors

References