Journal of Siberian Federal University. Humanities & Social Sciences 1 (2016 9) 140-149 ~ ~ ~

УДК 76.03/09

Specifics of Theatrical Concepts of the Creative Method of in His Graphic Series “A Rake’s Progress” and I. Stravinsky’s “The Rake’s Progress”

Svetlana A. Iakovleva* Krasnoyarsk State Institute of Art 22 Lenin Str., Krasnoyarsk, 660049,

Received 06.10.2015, received in revised form 09.11.2015, accepted 15.12.2015 The article studies the theatrical nature of the creative method of the artist William Hogarth in creating paintings and graphic series “A Rake’s Progress” and the composer Stravinsky in creating the opera “The Rake’s Progress” based on the engravings of the artist. The formation of theatrical thinking is shown, its origins and interaction with diverse phenomena of English culture in the work of Hogarth and Stravinsky are determined. The author pays particular attention to the issue of the identical creative way that brings out the unity of theatrical thinking, as well as the genre specifics of Hogarth and Stravinsky, scenic and musical dramatic art for the creation of a scenic and pictorial form. The article analyzes the stylistic features that reflect the main trends of English culture of the 18th century and European culture of the first half of the 20th century. It examines in detail the expressive means subordination of the musical pattern to the picturesque dramaturgy of the artist. This research approach allows to confirm the semantic links of structural validity between the works of the music and art. Keywords: artist William Hogarth, composer , librettist W.H. Auden, creative method, theatre, graphics, stagecraft. DOI: 10.17516/1997-1370-2016-9-1-140-149. Research area: culture studies.

Hogarth’s “A Rake’s Progress” (1734-1735) understanding of Igor Stravinsky’s reading of and Stravinsky’s “The Rake’s Progress” (1948- the graphic series had been arising interest and 1951) created in different sociocultural eras, became the subject of discussion. The issues of combined by the unity of moral and aesthetic the unity of the musical work of the composer problems in the interpretation of the main with the engravings, modelling of the genre and , had become widely known during their dramaturgy, music formation, transformation of lifetime. the visual image into the music one have been Repeatedly, the theme of Hogarth’s studied (Ordzhonikidze, Baeva, Kardash). Ethical engravings interpretation, the problem of creative dilemmas of moral action of a man in the dialogue

© Siberian Federal University. All rights reserved * Corresponding author E-mail address: [email protected] – 140 – Svetlana A. Iakovleva. Specifics of Theatrical Concepts of the Creative Method of William Hogarth in His Graphic Series… of cultures were also considered in 2006 at the “I decided to create paintings on canvas like a exhibition “Hogarth, Hockney and Stravinsky. theatrical performance ... I tried to develop themes The Rake’s Progress” at the State Hermitage as a playwright” (Hogarth, 1967, p . 390). Museum (Khogart, Khokni i Stravinsky, 2006). Along with the on the upper class, There is no doubt in the uniqueness of the the literary and journalistic publications showed individual creative approach of Hogarth and the pictorial and critical comprehension of Stravinsky to the development of the theatrical reality by the artist. Hogarth’s original painting concept during the creation of the graphic series and dramaturgical series are didactic and “A Rake’s Progress” and the opera “The Rake’s straightforward already in the title of paintings Progress”. and engravings: “The Young Heir Takes Artistic creativity is determined by the Possession Of The ’s Effects” (Fig. 1), creation of the structure of the artistic image of “The Levee”, “The Tavern Scene”, “Arrested the work. Creativity of the artist and the composer for Debt”, “Married to an Old Maid”, “Scene in is unique characterized by identical historical a Gaming House”, “The Prison Scene”, “In the thinking, compositional decision confirmed by Madhouse”. the graphic series and the opera, based on the The series is made with the knowledge of the profound knowledge of the theatre world. The theatre specifics and the repertoire of the leading theatrical origins were an important structure of theaters the Drury Lane, Queen in Haymarket the graphical and musical works of the creators. and Lincoln’s Inn Fields. The plays of William William Hogarth was a historian, painter, Wycherley, , , engraver, essayist, philosopher and lexicographer Joseph Addison, , John Gay, George of English life associated with the beginning of Lillo had educational, social-accusatory and the history of national art. Hogarth displayed ethical objectives criticizing the bourgeois society. an entire era in his works, which absorbed the The ideas of the Enlightenment era were reflected traditions of literature, theatre, social thought, in the characters of the scenic dramaturgy: “All philosophical and ethical ideas of his time. the characters of the Enlightenment were Hogarth was an artist-playwright creating genre divided into positive and negative” (Mokul’skii, sketches with “moral stories” (Hogarth, 1967, 1957, p. 22). The throughline of “A Rake’s p. 389). Progress” is connected with Thomas Rakewell, Development of Hogarth’s creative thinking the main character, who was assigned the role took place on the background of the prevailing of . I Rakewell represents the evils of the national theatrical and literary tradition. English society that meet the ideological principles of the theatre-goers and reading public preferred enlighteners standing for the objectives of social the likelihood of events from Shakespeare’s benefit from the standpoint of literature and Renaissance works to the stories and novels of theatre. From the first scene, on par with the line G. Bunyan, D. Defoe, S. Richardson, H. Fielding of Rakewell, the sideline of his beloved one, Sarah of the modern times. Narrative-epistolary novels Young, full of drama is traced. The tragic end of became popular in the wave of political, satirical the pictorial drama with the eighth painting “In and pamphleteering journalism in the magazines the Madhouse” (Fig. 2) is comparable with the “The Taltler”, “The Spectator”. The theatre-acting theatrical drama of the era in the plays of R. Steele principle appears in Hogarth’s early works: “A “The Lying Lover”, “The Conscious Lovers” and Harlot’s Progress” (1731), “A Rake’s Progress”. “The London Merchant by George Lillo. – 141 – Harlot’s Progress” (1731), “A Rake’s Progress”. “I decided to create paintings on canvas like a theatrical performance ... I tried to develop themes as a playwright” (Hogarth, 1967, p . 390). Along with the satire on the upper class, the literary and journalistic publications showed the pictorial and critical comprehension of reality by the artist. Hogarth’s original painting and dramaturgical series are didactic and straightforward already in the title of paintings and engravings: “The Young Heir Takes Possession Of The Miser's Effects” (Fig. 1), “The Levee”, “The Tavern Scene”, “Arrested for Debt”, “Married to an Old Maid”, “Scene in a Gaming House”, “The Prison Scene”, “In the Madhouse”.Svetlana A. Iakovleva. Specifics of Theatrical Concepts of the Creative Method of William Hogarth in His Graphic Series…

Thomas Rakewell, the main character, who was assigned the role of villain. I Rakewell represents the evils of the society that meet the ideological principles of the enlighteners standing for the objectives of social benefit from the standpoint of literature and theatre. From the first scene, on par with the line of Rakewell, the sideline of his beloved one, Sarah Young, full of drama is traced. The tragic end of the pictorial drama with the eighth painting “In the Madhouse” (Fig. 2) is comparable Fig.Fig. 1.1. Engraving. Engraving. W. Hogarth. W. Hogarth. A Rake’s AProgress. Rake’s Plate Progress. 1. The Young Plate Heir Takes 1. The Possession Young Of HeirThe Miser’s Takes Effects, 1735with the theatrical drama of the era in the plays of R. Steele “The Lying Lover”, “The Possession Of The Miser's Effects, 1735 Conscious Lovers” and “The London Merchant by George Lillo. The series is made with the knowledge of the theatre specifics and the repertoire of the leading theaters the Drury Lane, Queen in Haymarket and Lincoln's Inn Fields. The plays of , William Congreve, Colley Cibber, Joseph Addison, Richard Steele, John Gay, George Lillo had educational, social- accusatory and ethical objectives criticizing the bourgeois society. The ideas of the Enlightenment era were reflected in the characters of the scenic dramaturgy: “All the characters of the Enlightenment drama were divided into positive and negative” (Mokul'skii, 1957, p. 22). The throughline of “A Rake’s Progress” is connected with

Fig. 2. Engraving. W. Fig.Hogarth. 2. Engraving. A Rake’s Progress. W. Hogarth. Plate 8. In A the Rake’s Madhouse”, Progress. 1735 Plate 8. In the Madhouse”, 1735 The success of John Gay’s ballad opera “The Beggar's Opera” with music

The successarranged of John by Gay’s Johann ballad Christoph opera samePepusch name struck painting. the Using artist the so scenography much that he created “The Beggar’s Opera” with music arranged by of the director John Rich, Hogarth carefully multiple versions of the same name painting. Using the scenography of the director Johann Christoph Pepusch struck the artist so coordinated the composition with the stage much that John he created Rich, multiple Hogarth versions carefully of the coordinatedspace giving th ae composition personal vision with of the the scene. stage space giving a personal vision of the scene.– 142 Along – with the main idea of “The Beggar’s Opera”, a satire on political and social mores of the society, it contained the imitation of the Italian opera represented by G. Handel. Perhaps the second plate of “A Rake’s Progress”, “The Levee”, depicts the composer with a harpsichord (German, 1977, p. 216). The artist applied the theatrical laws of scenography. The arrangement of paintings meets the usual organization of stage space and showed future aesthetic Svetlana A. Iakovleva. Specifics of Theatrical Concepts of the Creative Method of William Hogarth in His Graphic Series…

Along with the main idea of “The Beggar’s London) for five francs ...” (Stravinsky, 1997, Opera”, a satire on political and social mores pp. 327-328). of the society, it contained the imitation of the Fascination with theatre had been strong Italian opera represented by G. Handel. Perhaps throughout the creative life of Hogarth and the second plate of “A Rake’s Progress”, “The Stravinsky. Staging is typical for the paintings of Levee”, depicts the composer with a harpsichord Hogarth in sequencing them. Theatre origins in (German, 1977, p. 216). the music of Stravinsky repelled from his early The artist applied the theatrical laws of experience of communicating with the artists scenography. The arrangement of paintings meets of the “World of Art”: “... It is hard to find such the usual organization of stage space and showed a smoothly synthesis of creative aspirations ... future aesthetic views of the artist in relation to that is established between Stravinsky ... and the beauty: “I define the complexity of the form as participants of “Russian Seasons” (Pshantseva, ... the originality of lines which forces the eye 2012, pp. 37- 38), with Picasso, who vividly to follow them ... the pleasure that this process drew up “”. The success of young brings to consciousness raises it to the name of Stravinsky’s music in Diaghilev’s seasons for beauty” ( Hogarth, 1987, p. 130). The structure “Firebird”, “”, “Rite of Spring”, where of the paintings is close to the atmosphere of he showed the theatrical principle of the composer the theatre with architectural forms of the stage is typical for many of his works. “The Wedding”, construction: the proscenium, the apron stage “Pulcinella” and “The Rake's Progress” are and the portal. The last three paintings “Scene in composed in a similar style. a Gaming House”, “The Prison Scene”, “In the Stravinsky maintained his interest in Madhouse” are gloom due to the mystical dark art throughout his life, which is witnessed by background, which was often taken into account the pages from “The Dialogues” (Stravinsky, on stage in order to enhance the mystery. Greed 1971) with comical sketches and picturesque and panache of the prologue of the first two descriptions. paintings “The Young Heir Takes Possession Stravinsky confirmed that visual Of The Miser’s Effects” and “The Levee” stand impressions were a special creative method in his in contrast with the “In the Madhouse”, where memoirs. The musical idea is associated with the the foreground, like in theatre’s apron stage, the impression of a line, a drawing, architecture. “We apotheosis of the scenic drama is paraded, the cannot better define the relationship produced by madness of the main character.. music as by identifying them with the impression Hogarth gave names to the engravings from contemplation of architectural forms” from the paintings “A Rake’s Progress”, which (Stravinsky, 1963, p. 100). later served as a material for the creation of Stravinsky’s creative method during Stravinsky’s opera “The Rake’s Progress”. creation of musical works was not limited to Stravinsky got to know the works of the a single method. The composer marked the artist long before the creation of the opera, which stylistic heterogeneity with “manners”: “... my he reported in his letter to A. Benoit in 1912: manners are a birthmark of my art ... While “... my wife and I are slowly and surely going I was interested in music manners all my bankrupt buying the paintings. ... We purchased life, I still cannot say exactly what how they Hogarth’s engraving of his picture “The Election. are determined” (Stravinsky, 1971, p. 182 ). I-An entertainment” (Sir John Soane Museum, The diversity of the composer’s personality – 143 – Svetlana A. Iakovleva. Specifics of Theatrical Concepts of the Creative Method of William Hogarth in His Graphic Series… included artistic reinterpretation of musical London”, “Anna’s Monologue”, “Rackwell’s characteristics of past and modern cultures. House in London”, “Marriage to Baba the Turk”, Methods of the composer’s creative technique “A Marvellous Machine”, “Auction”, “Cemetery, included traditional art forms focused on the new card game”, “Bedlam”. “conventions”: “... I am constantly fascinated by The opera was written with a lyrical new conventions, which largely determine the tone, due to the introduction of the image of a attractiveness of the theater for me” (Stravinsky, virtuous Anne Truelove, a prototype of Sarah 1971, p. 183). Musical and theatrical situations Young. Keeping the individual features of the with the form of the grotesque and eccentricity, plot, Stravinsky and Auden “... strictly followed buffoonery in “”, “The Soldier’s Tale”, Hogarth, until our own story began to acquire “, Histoire burlesque chantée et jouée”, a different meaning” (Stravinsky, 197, p. 206). “The Wedding”, “Jeu de cartes” (“Card Game”) The visual appeal was formed by the elements and other were established in the works of the of the opera-buffa, opera-seria, lyrical opera composer. and opera-parable with the principles of allegory In 1947, Stravinsky visited the Art Institute and conventions. The opera model was featured of Chicago, where he studied the paintings of by the genre ambiguity: “... of course, I thought Hogarth’s series “A Rake’s Progress”. Visual that I decided to accept the conventions of that impressions prompted him to creating the era ... I’d rather choose a form of a number opera opera “The Rake’s Progress”. “I could not stand of the 18th century for “The Rake’s Progress” ...” listening to music with eyes closed, without the (Stravinsky, 1973, p. 58). active participation of the vision” (Stravinsky, Stravinsky’s creative fantasies were built on 1963, p. 122). Stravinsky’s vision transformed historical rethinking of music. Stravinsky took the picturesque image of the artist into the into account the legacy of “the English Settecento”, musical one. Hogarth’s experience on creating the English era of Enlightenment, basing on the the painting “The Beggar’s Opera” eventually scores of Mozart, Handel, adapting to the English led to the creation of pictorial . Stravinsky art space: “The English influence is observed for was fascinated by his theatricality. “There was the end of the neoclassical period of Stravinsky’s a feeling that these engravings could have been creativity ... “The Rake’s Progress” is not just the easily staged. … Hogarth also gave me another crown of the thirty years of neoclassicism … the idea. There I discovered the quintessence of opera ... is an unprecedented work in its duration English Settecento that I ought to transform into and dramatic complexity of all his heritage” music” (Stravinsky, 1988, p. 157). (Braginskaia, 2010, p. 142). The artist depicted several scenes applying Creativity of the artist developed in a the language of the pictorial story, creating a multi-genre aspect, the household “moral plots” series with a didactic focus. The concept of made him popular, he succeeded in the field of Stravinsky and the librettist W.H. Auden avoids portraiture. There were paintings on a sublime the artist’s moralizing, fatal predetermination theme among Hogarth’s artistic experience: “The of the characters’ actions including an auxiliary Pool of Bethesda”, “The Good Samaritan”, “The image of evil, the servant Shadow. Angel of Mercy”, etc. Nevertheless, adherence The opera included nine scenes with a to the classical principles was unsuccessful: developed compositional and dramaturgical “...”historical” paintings are his tragedy. He line: “In the Country”, “Mother Goose’s Brothel, was hungry for the monumental glory and died, – 144 – Svetlana A. Iakovleva. Specifics of Theatrical Concepts of the Creative Method of William Hogarth in His Graphic Series… bitterly regretting that he hadn’t gained this with Hogarth’s style and period” (Savenko, glory” (German, 1977, p. 115). 2001, p. 83) It would be rather to call Hogarth’s paintings Stravinsky’s theatrical experience was a pictorial satire typical for the medieval theatre of formed under the influence of S.P. Diaghilev and instructions and morality. Hogarth had repeatedly the “World of Art”, first experience of working testified what a strong impression he got from with A. Benoit in the production of “Petrushka”, “The Author’s Preface” to “The History of the getting to know the principles of Vsevolod Adventures of Joseph Andrews” of Mr. Fielding. Meyerhold, Alexander Tairov. “Demarcated The writer rebelled against the traditional strict scenes” were the structural composition of the hierarchy, where the comic drama in prose is work by Stravinsky: “... I decided to accept the valued less than a serious novel referring to “a conventions of the era, I prefer to choose the comic artist and chronicler” Hogarth in one form of a number opera” (Stravinsky, 1973, works and describing him as “moral satirist” in p. 58). the other. The theatrical nature of the opera-buffa Hogarth’s didactic idea was intensified by genre is predetermined by the multivaluedness additional scenes of Stravinsky and Auden, which of Hogarth’s paintings. The opera combines had no direct analogies with the engravings to structuring of the buffoonery, romantic opera, bring suspense and visual appeal to the opera. pastoral and English folk songs: “A method of Remarks related to the characters allowed to focus interfacing by installing different epochal-style on the representational aspect of their emotions. layers anticipates the polystylistic method: the Auden and Stravinsky studying the graphic works organization of the musical texture … is similar of the artist and the portraits of the characters, to ... the method of combinatorics ... in the works interpreted in individual visual images into the by I. Stravinsky» (Vinokurova, 2011 p. 131). musical-poetic ones. Hogarth’s creative motto was determined Hogarth’s theatrical buffoonery refers to one from his early works: detailed pictorial aspect of the artistic language of the artist: the didacticism, the perfection of precise details of deformation of the characters. Endless study of the accessory environment. Stravinsky’s stage human faces, amazing visual memory, knowledge forms were synthesized in a genre meaningful of physiognomy, knowledge of the theatrical versatility. The main storylines in Stravinsky’s stages of the era, the manner of acting contributed opera are the lyric and the dramatic ones. to the artist’s use of caricature as a consequence The composer and the librettist replace the of the situations in which the characters found artist’s thorough substantive edification by themselves. No wonder the English critic Charles visual appeal – the image of the Devil, the Lamb noted that “some paintings we look at, image of the fate – the servant Shadow, Baba Hogarth’s engravings we read” (Paulson, 1975, the Turk, Mother Goose. Stravinsky’s interest p. 12). in the movement, the rhythm is reflected in Visual impressions of Stravinsky the transformation of facial expressions and determined the composer’s stylistic position. gestures into intonation. Thus, in his letter to W. Auden he wrote: “... not Some Hogarth’s scenes “Scene in a Gaming a musical drama, but only an opera with certain House”, “The Prison Scene” do not appear in demarcated scenes connected by the spoken text the opera, but there is a certain analogy with ... Of course, the type of constraint is associated the other series of the artist. The character of – 145 – Svetlana A. Iakovleva. Specifics of Theatrical Concepts of the Creative Method of William Hogarth in His Graphic Series… the Mother Goose, the mistress of the brothel, cemetery, Shadow and Rakewell are playing reminds of Mother Needham from the series “A cards. A similar story is found at Hogarth’s third Harlot’s Progress” (Fig. 3). Hogarth’s spectacular engraved sheet in the series “Diligence and grotesque correlates with the materials from the Laziness”. Hogarth put great didactic sense in essays of the magazines “The Tatler” and “The his works, he believed in the effectiveness of the Spectator”. Every Londoner of Hogarth’s era series in the correction of human vices, reducing recognized the inverse images of the artist; thus, plots to simple stories. Elizabeth Needham, a famous procuress, appears The appearance of Shakespearean passions in the first picture of the series (literally sounding in the works of Hogarth and Stravinsky’s musical “Ensnared by a Procuress”), looking for the next drama is due to the reverence to the creativity victim, a girl from the province. of the great playwright. Hogarth’s passion for Marriage to Baba the Turk, a circus actress the outstanding national treasure of the writer with the Assyrian beard in the fifth picture affected many of his paintings and engravings, resembles similarity with the painting “The portraits of theatrical figures. He declared his Marriage”, where a wealthy bride-hunchback in a preferences for the artist for the national literature precarious marriage is another political satire of and Shakespeare in his works “Masquerades and the artist to the royal family. ”, “Falstaff Examining His Recruits” Perhaps in Stravinsky’s artistic imagination (1727), “David Garrick in the Character of Richard the image of Baba the Turk appeared from III”, “The Painter and his Pug” (1945). Stravinsky Hogarth’s picture “Southwark Fair” (1733), got to know Shakespeare’s plays in his youth and in which roving actors perform comic scenes had remained connected with the English culture on the royal wedding ceremony. In the eighth throughout his creative way, composing “” scene of the opera, the action takes place in a (1944), a on Old English texts (1951-

Fig. 3. Engraving.Fig. 3. WilliamEngraving. Hogarth. William A Harlot’s Hogarth. Progress. A Harlot’s Plate 1. Progress. Arrival to PlateLondon. 1. 1732Arrival to London. 1732 – 146 – Marriage to Baba the Turk, a circus actress with the Assyrian beard in the fifth picture resembles similarity with the painting “The Marriage”, where a wealthy bride-hunchback in a precarious marriage is another political satire of the artist to the royal family. Perhaps in Stravinsky’s artistic imagination the image of Baba the Turk appeared from Hogarth’s picture “Southwark Fair” (1733), in which roving actors perform comic scenes on the royal wedding ceremony. In the eighth scene of the opera, the action takes place in a cemetery, Shadow and Rakewell are playing cards. A similar story is found at Hogarth’s third engraved sheet in the series “Diligence and Laziness”. Hogarth put great didactic sense in his works, he believed in the effectiveness of the series in the correction of human vices, reducing plots to simple stories. The appearance of Shakespearean passions in the works of Hogarth and Stravinsky’s musical drama is due to the reverence to the creativity of the great playwright. Hogarth’s passion for the outstanding national treasure of the writer affected many of his paintings and engravings, portraits of theatrical figures. He Svetlana A. Iakovleva. Specifics of Theatrical Concepts of the Creative Method of William Hogarth in His Graphic Series…

1952), “Three Songs from William Shakespeare” The opera “The Rake’s Progress” was written in (1953): “I can write music … for Shakespeare’s 1940s-1960s, in the ideals of neoclassicism that works as what he wrote was created for singing” the composer preferred. (Stravinsky, 1988, p. 181). Stravinsky’s genre multiplicity includes Analyzing the specifics of theatrical concept the prototypes of various musical manners with of the artist and the composer, it is difficult the sound of genuine comedy, farce, grotesque, to accept the fact that they were united only but also expressed tragedy. The theatrical by theatrical thinking (Baeva, 1987, p. 130). and effective line of Auden and Stravinsky is Their attitude combined deep knowledge of the expressed through allegory, comments of the theatre and acting atmosphere. The creative chorus, changes of emotional intensity, actors’ path of the artists led to the unity of the unique appeal to the audience, inseparably merged with genre, mixing of genres, the emergence of the grotesque and subject-cautionary pictorialism stage forms, originality of scenic and musical of William Hogarth. dramaturgy. Creative thinking allowed to Stravinsky explored the European musical develop an innovative model of works reflecting space by entering into a dialogue with the the structure of the theatrical concept. Hogarth English culture by the early acquaintance with portraying reality, proposed a model of the scenic Shakespeare’s drama. Passion for Shakespearean dramatic sequence, taking into account the means drama also affected Hogarth in his painted plays. of expression and techniques of stage and drama. Connection with the great musical and dramatic Hogarth’s stylistic search for the content and form culture was realized in the multi-level theatrical was definite historical represented in the visual concept of Hogarth in the “A Rake’s Progress” space of the classic and baroque-rocaille models. and Stravinsky’s “The Rake’s Progress”.

References Baeva A. (1987) Printsipy modelirovaniia zhanra i muzykal‘noi dramaturgii v opere Stravinskogo “Pokhozhdenie povesy” [Principles of modelling the genre and musical drama in Stravinsky’s opera “The Rake’s Progress”] Muzykal‘nyi sovremennik:sbornik statei [Musical Contemporary: Collection of Articles]. Issues 6. , Sovetskii kompozitor, pp. 127-147. Braginskaia N. (2010) Igor‘ Stravinsky v dialoge s angliiskoi muzykal‘noi kul‘turoi [Igor Stravinsky in the Dialogue with English Musical Culture] Muzykal‘naia akademiia [Muscial Academy], (1), pp. 141-150. German M. Uil‘iam Hogarth i ego vremia [William Hogarth and His Epoch]. Leningrad, Iskusstvo, 1977. 225 p. Hogarth W. Avtobiografiia [Autobiography] Mastera iskusstva ob iskusstve [Art Masters about Art]. Vol. 3. Moscow, Iskusstvo, 1967. 565 p. Hogarth W. Analiz krasoty [Analysis of Beauty]. Leningrad, Iskusstvo, 1987. 254 p. I. Stravinsky – publitsist i sobesednik [Igor Stravinsky: A Publisher and an Interlocutor]. Executive Editor: V. Varunts. Moscow, Sovetskii kompozitor, 1988. 504 p. Kardash N. (2008) U istokov “Pokhozhdeniia povesy” Stravinskogo [The origins of Stravinsky’s “The Rake’s Progress”]. Muzykal‘naia akademiia [Muscial Academy]. (3), pp. 112-121. Mokul‘skii S. Istoriia zapadnoevropeiskogo teatra [The History of the West European Theatre]. Vol. 2. Moscow, Iskusstvo, 1957. 905 p. – 147 – Svetlana A. Iakovleva. Specifics of Theatrical Concepts of the Creative Method of William Hogarth in His Graphic Series…

Khogart, Khokni i Stravinsky. Pokhozhdeniia povesy: Katalog vystavki [Hogarth, Hockney and Stravinsky. “The Rake’s Progress”: the Catalogue of the Exhibition]. Prepared by Dukel‘skaia, A. Ippolitov. St. Peterburg, Gosudarstvennyi Ermitazh, 2006. 135 p. Ordzhonikidze G. (1979) Nravstvennye uroki nasmeshlivoi pritchi [Moral Lessons of the Satirical Parable]. Sovetskaia muzika [Soviet Music], (1), pp. 56-67. Paulson R. Emblem and expression. Meaning in English art of the eighteenth century. Cambridge, 1975. 256 p. Pshantseva M. (2012) Igor‘ Stravinsky v kul‘turnom prostranstve Serebrianogo veka [Igor Stravinsky in the Cultural Space of the Silver Age] Voprosy kul‘turologii [The Issues of Culture Studies], (1), pp. 49-52. Savenko S. Mir Stravinskogo [The World of Stravinsky]. Moscow, Kompozitor, 2001. 328 p. Stravinsky I. Dialogi. Vospominaniia, razmyshleniia, kommentarii [Dialogues. Memories, Thoughts and Comments]. Leningrad, Muzyka, 1971. 450 p. Stravinsky I.F. Perepiska s russkimi korrespondentami. Materialy k biografii [Correspondence with Russian Reporters. Materials to Biography]. Vol. I: 1882-1912. Moscow, Kompozitor, 1997. 552 p. Stravinsky I. Stat‘i i materialy [Articles and Materials]. Moscow, Sovetskii kompozitor [Soviet Composer], 1973. 528 p. Stravinsky I. Khronika moei zhizni [The Chronicles of My Life]. Leningrad, Gosudarstvennoe muzykal‘noe izdatel‘stvo [State Musical Publishing House], 1963. 275 p. Vinokurova N.V. Simfonicheskoe tvorchestvo A.K. Glazunova: na puti k neoklassitsizmu [Symphonic Works of A.K. Glazunov: on the Way to Neoclassicism]. Krasnoyarsk, Krasnoiarskaia gosudarstvennaia akademiia muzyki i teatra [Krasnoyarsk State Academy of Music and Theatre], 2010. 216 p. Svetlana A. Iakovleva. Specifics of Theatrical Concepts of the Creative Method of William Hogarth in His Graphic Series…

Специфика театрально-игровых концепций художественного метода У. Хогарта в его графической серии «История распутника» и опере И. Стравинского «Похождения повесы»

С.А. Яковлева Красноярский государственный институт искусств Россия, 660049, Красноярск, Ленина, 22

Статья предлагает исследование театральной и игровой природы творческого метода художника У. Хогарта при создании картин и графической серии «История распутника» и композитора И. Стравинского при создании оперы «Похождения повесы» по гравюрам художника. Освещается формирование театрального мышления, определяются его истоки и взаимодействие с разнообразными явлениями английской культуры в творчестве Хогарта и Стравинского. Особое место уделено вопросу о самобытности творческого способа, что позволяет выявить помимо единства театрального мышления жанровую специфику Хогарта и Стравинского, живописную и музыкальную драматургию для создания сценической и изобразительной формы. В статье анализируются стилистические черты, отражающие основные тенденции английской культуры XVIII века и европейской первой половины XX века. Подробно разбираются выразительные средства подчинения музыкальной модели живописной драматургии художника. Данный исследовательский подход дает возможность подтвердить смысловые связи структурной правомерности произведений музыкального и живописного, графического искусства. Ключевые слова: художник Уильям Хогарт, композитор Игорь Стравинский, либреттист Уистен Хью Оден, художественный метод, театр, графика, сценография. Научная специальность: 24.00.00 – культурология.