«LIANOZOVIAN TEXT» IN THE GENRIKH SAPGIR’S POETICAL WORKS: METALITERARY AND INTERMEDIATE ASPECTS

Abstract

The article examines the specifics of reflecting the history and artistic practice of the Lianozovo non-conformist artistic group in the G. Saphir's poetic cycles «The End and the Beginning» and «The New Lianozovo». The peculiarities of the deployment of the memoir component, fragments of biographies of the association's participants and autobiographical material are determined.To reconstruct elements of the creative strategies of the underground representatives–artists and writers Saphir applies the techniques of intermediality and metalliterature methods. A number of images, landscape sketches, reduced ekphrasis correspond with O.Rabin's minimalist painting and «concrete» poetry by the Lianozovites and reproduce the range of problems of so-called «barrack» literature –social troubles, restrictions of freedom in a totalitarian country, poor and disorderly life, extreme devaluation of human life, and ultimately, the absurdity of existence as a whole. G. Saphir uses the intertext by the Lianozovites (E. Kropivnitsky, I. Kholin and his own pretexts). The author resorts to the reconstruction of certain methods of the Lianozovo school such as minimalism, «protocol writing», grotesque, absurdism and applies them in depicting the realities of life in the 90s. At the same time, the connection with the concrete poetry is diversified by a wide range of traditions –from game poetry, known since ancient times, to the artistic practice of oberiuts and the later methodology of conceptual performances.The complex multi-layered text created by the writer is a kind of version of a poetic memoirs and at the same time reveals the characteristic features of his idiostyle –game poetics, an attitude to experiment, metaphysical viewpoint of world perception.