SCENIC REPRESENTATIONS OF A CONCERT IN THE INDEPENDENT RUSSIAN POETRY

Abstract

The article examines the influence of pictorial models on the complex image of a concert in uncensored Russian poetry. It is proved that this image has always had an existential meaning associated with the characteristics of the individual and collective experience of death and immortality, and was not associated with the everyday environment of the concert. The concert turned into a universal symbol of the intense experience of time, its complex movement, allowing to revive dead musical material, and therefore revive the memory of individual people. Such a unique combination of collective experience and individual experience of immortality became possible thanks to the experience of painting: by the example of the image of the concerts of an owl in Dutch painting following the parable of Dion Chrysostom and the concept of restoration by Adolf Ovchinnikov, it is shown that such an experience of individuality as wisdom capable of combining the ideas of death and immortality was supported by the very technologies of painting and the metaphorical meanings in the fable and parable. A detailed analysis of several poems (Alexander Mironov, Ivan Zhdanov, Viktor Krivulin) proves that the same model of the intermedial experience of a concert, with all the differences in the poetics of these authors, expressed the same metaphysical meaning.