Реінтерпретація «Записок божевільного» М. Гоголя в оперній творчості Го Веньцзіна: від літературного першоджерела до оперного твору

Abstract

The aim of the article. The article is devoted to the consideration of the principles of reinterpretation of “Diary of a Madman” by N.V. Gogol and the comparison of the range of images and artistic solutions with the “Diary of a Madman” by Lu Xin, which became the basis for Guo Wenjing’s opera. Various aspects related to the creation of the image of the protagonist and the peculiarities of its embodiment in the works of N.V. Gogol, Lu Xin and Guo Wenjing are researched. The methodology of the work is determined by literary, textological, musicological analytical and comparative approaches that provide a detailed and comprehensive analysis of the works of N.V. Gogol, Lu Xin and Guo Wenjing as problems of the original source and its reinterpretation, which helps to determine the artistic and culturalhistorical originality of the image of the protagonist. The scientific novelty is to draw attention to the opera of the famous Chinese composer Guo Wenjing and his contribution into the development of modern musical Gogoliana. Conclusions. Identifying the parameters of reinterpretation of a particular literary work opens wide opportunities for creating new artistic circumstances of its existence in other cultural contexts. The drama of the hero’s soul of “Diary of a Madman” by Lu Xin, the evolution of his psychological state go a long way from nightmares to a tragic surge, which indicates the continuity of artistic principles of N.V. Gogol, who always paid special attention to the psychological state and the movements of the hero’s soul. However, the use of this method by Lu Xin has a direct connection with the national and cultural traditions of the composer, as exemplified by the depiction of the lyrical feelings of the hero, which are embodied through artistic and associative parallels with the moonlight. This is a characteristic feature of the Chinese cultural tradition, in which nature is always associated with the soul: the light of the moon, the murmur of the river, the branches of reeds – all these are symbols of the states of the human soul. In Lu Xin’s work, and later in Guo Wenjing’s opera, it is possible to reinterpret and translate the plot and content of the primary literary source into a non-national cultural context.