Поетика «мучеництва святого Себастьяна»К. Дебюссі в річищі містеріальних шукань символізму

Abstract

Research objective is to identify the poetic-intonational and spiritual-semantic uniqueness of the “Martyrdom of St. Sebastian” by C. Debussy in line with the mystery searches of the art of symbolism. The methodology of the work is comprehensive and based on the combination of musicology, art history, cultural and historical and interdisciplinary research. The scientific novelty of the study is determined by its analytical perspective, focused on the correlation of the poetics of the “Martyrdom of St. Sebastian” with the spiritual and aesthetic attitudes of symbolism and French culture at the turn of the XIX–XX centuries. Conclusions. The turn of the XIX–XX centuries in French culture is characterized by obvious searches for the spiritual essence of being, carried out on the basis of a variety of spiritual, philosophical and style systems. Among the latter, a significant place belongs to symbolism, indicative of which is a tendency to exquisite metaphorism, suggestiveness, mysticism and musicality, which are also related to religious perception of the world. One of the striking examples of the implementation of symbolist poetics in music is the mystery “Martyrdom of St. Sebastian”, created on the basis of a creative union between C. Debussy and G. d’Annunzio. The mysterious-symbolist design of this performance appeals to the symbiosis of biblical sources, Christian hagiography (the life of St. Sebastian), ancient mythology (appeal to the images of Apollo, Adonis, the virgin Erigona), which determines the multigenre nature of the work, in which melodic dance is organically synthesized, melody stage performance and instrumental episodes, corrected by the designs of L. Bakst’s sets and costumes, the original choreography of M. Fokin, the organizational genius of S. Diaghilev, and theatrical talent I. Rubinstein (starring). The organics of their unity is supplemented by the intonational language of the mystery, gravitating to the Gregorian monody and the early forms of polyphony, heterophony. The leading motive-symbol is quinton intonation, revealing the involvement of the work of C. Debussy to the deep foundations of the European spiritual and musical tradition and its implementation within the framework of symbolist poetics of the early twentieth century.