DOCSLIB.ORG

ZANGEZI: a SUPERSAGA in TWENTY PLANES BROOKLYN ACADEMY of MUSIC Harvey Lichtenstein, President and Executive Producer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ZANGEZI: a SUPERSAGA in TWENTY PLANES BROOKLYN ACADEMY of MUSIC Harvey Lichtenstein, President and Executive Producer ZANGEZI: A SUPERSAGA IN TWENTY PLANES BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer BAM Lepercq Space November 17-December 6, 1987 presents ZANGEZI: A SUPERSAGA IN TWENTY PLANES By VELIMIR KHLEBNIKOV English Text by PAUL SCHMIDT with DAVID WARRILOW RUTH MALECZECH BEN HALLEY, JR. Set and Costume Design lighting Design Sound Design GEORGE TSYPIN JAMES F. INGALLS STEPHEN CELLUM Music Composed and Performed by JON HASSELL Directed by PETER SELLARS mngezi will be performed without intermission. Produced with the permission of the Dia Art Foundation. Originally produced for the stage in English by Julie Lazar and the Museum oflContemporary Art, los Angeles. BROOKLYN ACADEMY OF MUSIC i~FEI~~~AL II II I. SPONSORED BY PHILIP MORRIS COMPANIES INC: The 1987 NEXT WAVE Festival is sponsored by PlDLIPMORRISCOMPANIESINC. The NEXT WAVE Production and Touring Fund and Festival are supported by: the NATIONAL ENDOWMENTFORTHE ARTS, TIlE ROCKEFELLERFOUNDATION, THE FORD FOUNDATION, THE ELEANOR NAYWR DANA CHARITABLE TRUST, PEW CHARIT~LETRUSTS, the BOOTH FERRIS FOUNDATION, THE IlENRYWCEFOUNDATION, INC., the AT&T FOUNDATION, THEHOWARDGll.MANFOUNDATION, THEWll.LIAMANDFLORA HEWLETTFOUNDATION, the MARY FLAGLERCARY CHARITABLETRUST, THEHINDUJAFOUNDATION, THEEDUCATIONAL FOUNDATION OF AMERICA, the MORGAN GUARANTY TRUST COMP~ROBEIn' W. WH.SON, TIlEREED FOUNDATION INC., theEMMAA. SHEAFERCHARITABLETRUST, SCHLUMBERGER, YVES SAINT LAURENTINTERNATIONAL, andthe NEWYORK 3TATE COUNCll.ONTHE ARTS. Additional funds for the NEXT WAVE ~stival are provided by: THEBEST PRODUcrs FOUNDATION, COCA-COLA ENTERrAINMENT, INC., MEET THE COMPOSER, INC., the CIGNA CORPORATION,THEWll.LIAM AND MARY GREVE FOUNDATION, INC., the SAMUEL I. NEWHOUSE FOUNDATION, THE ARMAND G. ERPF FUND, the ARTHUR ROSS FOUNDATION, the HARKNESS BALLETFOUNDATION, INC., THEWEILER-ARNOW FOUNDATION, AIRINDIA, REMYMAKI1N AMERIQUE, the BAM Committee for THE MAHABHARATA, andthf BAM NEXT WAVE Producers Council. WNYC-FM is the official , radio station ofthe NEXT WAVE Festival. The Producers Council provides annUal private patronage for BAM's NEXT WAVE Festival and also organizes and sponsors seminars, exhibitions, publications, and special ~veQts for this program throughout the year. The Brooklyn Academy ofMusic wishes toexpress its appreciation toTheatre Development Fund for its support ofthis season. The BAM facility is owned by the City ofNew York and its operation is supported, in part, with public funds provided through the NEWYORKCITYDEPARTMENT OFCULTURALAFFAIRS. The principal capital funding for the BAM MAJESTIC THEATER was provided by the City ofNew York through the New York City Department ofCultural Affairs with the special assistance of the Brooklyn Borough President's Office and the Office ofthe Mayor. Joseph V. Melillo, Director Michael O'Rand, General Manager ZANGEZI Introduction by Velimir Khlebnikov, 1922 A story is made of words, the way a building is made ofconstruction units. Equivalent words, like minute building blocks, serve as the construction units of a story. A superstory, or supersaga, is made up out ofindependent sections, each with its own special god, its special faith, and its special rule. To the old Muscovite question about one's orthodoxy, "How dost thou believe?", each section must answer independently ofits neighbor. Each is free to confess its own particular faith. The building block of the supersaga, its unit of construction, is the first­ order narrative. The supersaga resembles a statue made from blocks ofdifferent kinds of stone of varying colors-white for the body, blue for the cloak and garments, black for the eyes. It is carved from the vari-colored blocks of the Word, each with its own different structure. Thus do we discover a new kind of operation in the realm of verbal art. Narrative is architecture com­ posed of words; an architecture composed of narratives is a "supersaga." The artist's building block is no longer the word, but the first-order narrative. NOTES ON ZANGEZI ! Zangezi catalogue and demonstrate some of by Paul Schmidt the possible languages that connect the uni­ verse. We hear the language of the gods, and On May 9th,. 1923, in a small auditorium the famous "beyonsense" language called in Petrograd, Vladimir Tatlin built a construc­ mum in Russian. We hear the language ofthe tion, climbed up on it, and read the text of a stars in Plane Eight, the declension of dramatic poem called Zangezi, written by his intellect in Plane Nine, sound-writing in poet friend Velimir Khlebnikov, who had died Plane Fifteen, fragments of popular speech in eleven months before. "Khlebnikov thought of Planes Sixteen and Seventeen, the grand words as structural materials; Tatlin said. "I movement ofnumbers as history in Planes decided to erect a material construction to Eighteen and Nineteen. Finally, in Plane Twenty, parallel his verbal one." We have one photo­ in a pure theatrical metaphor, there is a scene graph of that eveping, Tatlin on top of his out of some fantastic medieval morality play, construction, lit by a spotlight from below. In the crystallization of all human endeavor in front of him hangs a sign that says BOM, the struggle of Laughter with Death. BIM, BAM. Beside him hangs another that Zangezi is a prophet: one who hears and says HA-HA. sees·and then speaks out. What he hears is For over sixty years Khlebnikov's sound, what he sees are the structures of Zangezi has been known primarily as the sound, and what he speaks are fantastic lan­ pretext for Tatlin's construction. But the real guages that will enable us to communicate text of that evening, Khlebnikov's enormous with the entire cosmos. play of words, was an unknown quantity. It is the structure of the piece that is so Finally, this landmark of Russian Futurism remarkable. Khlebnikov has set himself a was translated into English and given its first new dramatic task, and to accomplish it he production since 1923 last year at the invents a new category of drama. He called Museum of Contemporary Art, LOs Angeles. Zangezi a supersaga: part history play, part Now the Brooklyn Academy of Music's dramatic poem, part vision. It is a geometric NEXT WAVE Festival has remounted the structurec' a bundle of intersecting "planes," work for its New York debut. points chosen because several planes of real­ It is especially appropriate that Zangezi ity seem unexpectedly to intersect there. He should be performed in Brooklyn, the home describes his .method in a letter written in of Walt Whitman, because Whitman was one 1908 to his friend and fellow Futurist Vasily of Khlebnikov's early inspirations. Like Kamensky: Whitman- and Blake and Rimbaud­ I've thought up a complicated piece Khlebnikov set himself the enormous task of 'ofwriting, where the logical rules incorporating the entire universe into his \oftime and space are broken as work, to show us that the movement of the many times as a drunk takes a universe depends on the interconnectedness drink in the course ofan hour. No of its smallest parts. Perhaps the best descrip­ section will have any connection tion of Zangezi is to be found in these lines whatsoever to the next. In the from Whitman: course ofthe piece I intend, with a To me the converging objects of' bagmafJ-s prodigiality, to cast upon the universe perpetually flow, my palette. all the colors and, dis­ All are written to me, and I must coveries I have, and they are each get what the writing means. one to have authority over only·a The hero of Khlebnikov's theater piece, single section:" this is differential the poet's alter ego, is the prophet Zangezi, dramatic writing, dramatic writing conceived somewhat in the spirit of whose method relies on "the thing Nietzsche's zarathustra. Like the young in itself." I include the right to use Khlebnikov- and like those other young forest newly created words, a kind ofwrit­ heroes, Hiawatha and Siegfried- Zangezi ing based on words from a single understands the language of the birds, and it root, the use ofepithets, universal is with those most ordinary yet most complex pheno",:ena, painting wi~h sound. sounds that the ·action begins. Yet Zangezi ,,And in the introduction to Zangezi, understands the powers of language in its Khlebnikov says: "the supersaga resembles a . broadest senses, and the various "planes" of statue made from blocks of different kinds of stone of varying colors -white for the body, called a Futurist, but he called himself a blue for the cloak and garments, black for the Futurian: he wanted to disassociate himself eyes." This kind of stonework is called from any grouping of the here and now, espe­ breccia, and we remember that Freud, in The cially from Marinetti and the Italian Futurists, Interpretation ofDreams, uses this same and to align himself with the pure notion of metaphor to describe the way we compose Time. He offers us a vision of as yet 1 our dreams. unimagined ways of thinking and communi­ One of the critics of the first production cating, not only with each other, but with wrote: "Zangezi is great fuel for the theatrical every entity on Planet Earth around us, and machine, only we have to invent a completely even with the stars in space. He wants to reveal new motor." What Khlebnikov has in fact the future, if only we can learn to hear it. created is a theater text that demands a totally Tatlin had it wrong, building a con­ new theater. For the past twenty-five years in struction, because Zangezi isn't about the New York, new generations of theatrical tal­ visible, but the invisible. It is about the ent have been at work rethinking the very power ofsound, from the drone ofthe Buddhist forms of theater, deconstructing and recon­ OM that shakes the universe, to the most structing conventional theater texts. The advanced technologies of video that convert result is a vital avant-garde that has often sound to color patterns, as Zangezi does.
Load more

Recommended publications
  • Russian Avant-Garde, 1904-1946 Books and Periodicals
    Russian Avant-garde, 1904-1946 Books and Periodicals Most comprehensive collection of Russian Literary Avant-garde All groups and schools of the Russian Literary Avant-garde Fascinating books written by famous Russian authors Illustrations by famous Russian artists (Malevich, Goncharova, Lisitskii) Extremely rare, handwritten (rukopisnye) books Low print runs, published in the Russian provinces and abroad Title list available at: www.idc.nl/avantgarde National Library of Russia, St. Petersburg Editor: A. Krusanov Russian Avant-garde, 1904-1946 This collection represents works of all Russian literary avant-garde schools. It comprises almost 800 books, periodicals and almanacs most of them published between 1910-1940, and thus offers an exceptionally varied and well-balanced overview of one of the most versatile movements in Russian literature. The books in this collection can be regarded as objects of art, illustrated by famous artists such as Malevich, Goncharova and Lisitskii. This collection will appeal to literary historians and Slavists, as well as to book and art historians. Gold mine Khlebnikov, Igor Severianin, Sergei Esenin, Anatolii Mariengof, Ilia Current market value of Russian The Russian literary avant-garde was Avant-garde books both a cradle for many new literary styles Selvinskii, Vladimir Shershenevich, David and Nikolai Burliuk, Alexei Most books in this collection cost and the birthplace of a new physical thousands Dollars per book at the appearance for printed materials. The Kruchenykh, and Vasilii Kamenskii. However,
    [Show full text]
  • Pushkin and the Futurists
    1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed.
    [Show full text]
  • 235-Newsletter.Pdf
    The Poetry Project Newsletter Editor: Paul Foster Johnson Design: Lewis Rawlings Distribution: Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710 The Poetry Project, Ltd. Staff Artistic Director: Stacy Szymaszek Program Coordinator: Arlo Quint Program Assistant: Nicole Wallace Monday Night Coordinator: Simone White Monday Night Talk Series Coordinator: Corrine Fitzpatrick Wednesday Night Coordinator: Stacy Szymaszek Friday Night Coordinator: Matt Longabucco Sound Technician: David Vogen Videographer: Andrea Cruz Bookkeeper: Lezlie Hall Archivist: Will Edmiston Box Office: Aria Boutet, Courtney Frederick, Gabriella Mattis Interns/Volunteers: Mel Elberg, Phoebe Lifton, Jasmine An, Davy Knittle, Olivia Grayson, Catherine Vail, Kate Nichols, Jim Behrle, Douglas Rothschild Volunteer Development Committee Members: Stephanie Gray, Susan Landers Board of Directors: Gillian McCain (President), John S. Hall (Vice-President), Jonathan Morrill (Treasurer), Jo Ann Wasserman (Secretary), Carol Overby, Camille Rankine, Kimberly Lyons, Todd Colby, Ted Greenwald, Erica Hunt, Elinor Nauen, Evelyn Reilly and Edwin Torres Friends Committee: Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Steve Hamilton, Bob Holman, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Patricia Spears Jones, Eileen Myles, Greg Masters, Ron Padgett, Paul Slovak, Michel de Konkoly Thege, Anne Waldman, Hal Willner, John Yau Funders: The Poetry Project’s programs and publications are made possible, in part, with public funds from The National Endowment for the Arts. The Poetry Project’s programming is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The Poetry Project’s programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.
    [Show full text]
  • 1. Coversheet Thesis
    Eleanor Rees The Kino-Khudozhnik and the Material Environment in Early Russian and Soviet Fiction Cinema, c. 1907-1930. January 2020 Submitted for the degree of Doctor of Philosophy School of Slavonic and East European Studies University College London Supervisors: Dr. Rachel Morley and Dr. Philip Cavendish !1 I, Eleanor Rees confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Word Count: 94,990 (including footnotes and references, but excluding contents, abstract, impact statement, acknowledgements, filmography and bibliography). ELEANOR REES 2 Contents Abstract 5 Impact Statement 6 Acknowledgments 8 Note on Transliteration and Translation 10 List of Illustrations 11 Introduction 17 I. Aims II. Literature Review III. Approach and Scope IV. Thesis Structure Chapter One: Early Russian and Soviet Kino-khudozhniki: 35 Professional Backgrounds and Working Practices I. The Artistic Training and Pre-cinema Affiliations of Kino-khudozhniki II. Kino-khudozhniki and the Russian and Soviet Studio System III. Collaborative Relationships IV. Roles and Responsibilities Chapter Two: The Rural Environment 74 I. Authenticity, the Russian Landscape and the Search for a Native Cinema II. Ethnographic and Psychological Realism III. Transforming the Rural Environment: The Enchantment of Infrastructure and Technology in Early-Soviet Fiction Films IV. Conclusion Chapter Three: The Domestic Interior 114 I. The House as Entrapment: The Domestic Interiors of Boris Mikhin and Evgenii Bauer II. The House as Ornament: Excess and Visual Expressivity III. The House as Shelter: Representations of Material and Psychological Comfort in 1920s Soviet Cinema IV.
    [Show full text]
  • Russian Plates Pp. 290-303
    INDEX OF ARTISTS Dorfman, Elizaveta, 733 Ivanova, Vera, 868, 869 Litvak, M., 652 Index Dovgal’, Oleksandr, 783 Izenberg, Vladimir, 592–594, 643 Liubavina, Nadezhda, 74, 186, 364 Adlivankin, Samuil, 524, 525, 572, 573 Dubyns’kii, Hr., 858 (see also Author Index) Izoram, 1019 Liubimov, Aleksandr, 1197 Coordinated by Sarah Suzuki. (see also Author Index) Duplitskii, 1019 Liushin, 896 Contributors include Sienna Brown, Aivazovskii, 1021 Dvorakovskii, Valerian, 1080 K., B., 697, 698 Lopukhin, Aleksandr, 128 (see also Author Emily Capper, and Jennifer Roberts. Akishin, Leonid, 1019 K., F. P., 1151 Index) Aksel’rod, Meer (Mark), 789 Echeistov, Georgii, 284, 378–382, 455 K., N., 222 Lozowick, Louis, 706 Aleksandrova, Vera, 329 Efimov, B., 532 Kalashnikov, Mikhail, 263, 264 All numbers refer to the Checklist. Alekseev, Nikolai, 526, 574 Egorov, Vladimir, 583 Kalmykov, Mykola, 262 M., D., 608 Al’tman, Natan, 55, 56, 59, 117, 143, Elin, V. M., 1205 Kamenskii, Vasilii, 75, 76, 90, 94, 95, M., E., 751 144, 169, 215, 330, 331, 364, 447, Elkin, Vasilii, 793 142, 150, 164–66, 218 (see also Author Makarov, Mikhail, 1023 451, 527, 575, 636, 731, 1019, 1124, El’kina, D., 326 (see also Author Index) Index) Makletsov, Sergei, 206, 207 1162 (see also Author Index) Ender, Boris, 533, 584, 1228 Kandinsky, Vasily, 181, 223 (see also Malevich, Kazimir, 21, 37–40, 55, 56, Andreev, Aleksandr, 4 Epifanov, Gennadii, 1081 Author Index) 68, 69, 79–81, 91, 129, 236, Andreevskaia, M., 361 Epple, L., 1056 Kanevskii, A., 852 306–308, 348, 884, 1126–1128, 1153 Andronova,
    [Show full text]
  • GAIL HARRISON ROMAN (Poughkeepsie, N.Y., U.S.A.) Vladimir Tatlin and Zangezi Introduction in 1923, Vladimir Tatlin (1885-1953) O
    GAIL HARRISON ROMAN (Poughkeepsie, N.Y., U.S.A.) Vladimir Tatlin and Zangezi Introduction In 1923, Vladimir Tatlin (1885-1953) organized and designed a post- humous production of Zangezi, a play by Velemir Khlebnikov (1885-1922). (See Figs. 1, 2) This "revolutionary event" (as characterized by Tatlin) was far more than an homage to his re,cently deceased friend. It was a reiteration of Russian avant-garde art and thought, dating from the early teens. The play is an example of Khlebnikov's literary creation of a new, universal society based on principles of a mathematically calculated harmony expressed in Futurist linguistics. The designs summarize Tatlin's development of geometric abstrac- tion and the Constructivist theory of the "Culture of Materials." Both men were pioneers in the efforts of develop a UNIVERSAL language-both of word and image-suitable to the radically new society wrought by the socio- political and cultural revolutions in Russia during the teens and twenties. The Russian Revolution served primarily as a catalyst for the frenetic activity that I . had begun in Russia early in this century.1 Despite differences in their styles ("Futurist," "Suprematist," "Construc- tivist"), most members of the Russian avant-garde shared the following goals: to destroy the Old Order based on the powers of tsar-aristocracy-bourgeoisie- church ; to discredit outdated artistic and literary forms; to contribute to the building of new society in their writing and art. All media were considered in this new light, including: poetry, prose, and criticism; painting, sculpture, and architecture; graphics; domestic and industrial design; and theater.
    [Show full text]
  • Checklist of the Judith Rothschild Foundation Gift
    Checklist of The Judith This checklist is a comprehensive ascertained through research. When a For books and journals, dimensions Inscriptions that are of particular his- record of The Judith Rothschild place of publication or the publisher given are for the largest page and, in torical or literary interest on individual Rothschild Foundation Gift Foundation gift to The Museum of was neither printed in the book nor cases where the page sizes vary by books are noted. Modern Art in 2001. The cataloguing identified through research, the des- more than 1/4,” they are designated Coordinated by Harper Montgomery system reflects museum practice in ignation “n.s” (not stated) is used. irregular (“irreg.”). For the Related The Credit line, Gift of The Judith under the direction of Deborah Wye. general and the priorities of The Similarly, an edition size is some- Material, single-sheet dimensions in Rothschild Foundation, pertains to all Museum of Modern Art’s Department times given as “unknown” if the print which the height or width varies from items on this checklist. To save space Researched and compiled by of Prints and Illustrated Books in par- run could not be verified. City names one end to the other by more than and avoid redundancy, this line does Jared Ash, Sienna Brown, Starr ticular. Unlike most bibliographies are given as they appear printed in 1/4” are similarly designated irregular. not appear in the individual entries. Figura, Raimond Livasgani, Harper and library catalogues, it focuses on each book; in different books the An additional credit may appear in Montgomery, Jennifer Roberts, artists rather than authors, and pays same city may be listed, for example, Medium descriptions (focusing on parentheses near the end of certain Carol Smith, Sarah Suzuki, and special attention to mediums that as Petersburg, St.
    [Show full text]
  • Russian Futurist Books Held in the British Library: a Selected List from a Catalogue of Russian Avant-Garde Books 1912-1934 / Compiled by Peter Hellyer
    Russian Futurist books held in the British Library: a selected list from A Catalogue of Russian Avant-Garde Books 1912-1934 / compiled by Peter Hellyer. (Shelfmarks: HLR 741.64 and YC.2006.b.2068) The Catalogue includes Futurist and related works published in Moscow, St Petersburg/Petrograd, Kharkov and Tiflis [Tbilisi] 1910-1924. To make the use of his listing easier, an Index of artists, as well as a Title index (original titles) and an English title index are provided at the end. Alpha-numeric codes at the end of each citation (e.g. C.108.bb.44(2).) indicate British Library shelfmarks. 1. Aseev, Nikolai Nikolaevich. Stal'noi solovei. [Steel nightingale.] 2nd revised ed., with additions. Moscow: Izd. Vkhutemas, 1922. 27p. (MAF. Seriia poetov; no.2.) Typographic cover. MAF is an acronym for Moskovskaia - v budushchem Mezhdunarodnaia - assotsiatsiia futuristov. The design for the MAF imprint is reproduced in SC2, p.163. C.108.bb.44(2). 2. Aseev, Nikolai Nikolaevich. Zor. [Zor.] Moscow: Knigoizdatel'stvo Liren' (printed in Kharkov), 1914. 16p. Hand-printed text, lithographed. Cover by M. Siniakova reproduced in EL,fig.12, and in MO, p.89. C.114.n.34. Microfilm copy: MIC.A.7632 3. Bobrov, Sergei Pavlovich. Vertogradari nad lozami. [Gardeners over the vines.] Moscow: Knigoizdatel'stvo "Lirika", 1913. 162p. Illustrations by N. Goncharova (some are reproduced in EL, fig.26 and in SC1, plates 6 and 7). Signed by the author and the artist. A lithograph is reproduced in MO, p.87. Illustrations available on microfiche at MIC.F.124/75. C.114.n.35.
    [Show full text]
  • Art Groups in Russia After 1917
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Siberian Federal University Digital Repository Journal of Siberian Federal University. Humanities & Social Sciences 9 (2014 7) 1606-1619 ~ ~ ~ УДК 7.036 Art groups in Russia After 1917 Natalya V. Pokrovskaya* Krasnoyarsk State Institute of Art 98 Mira Av., Krasnoyarsk, 660017, Russia Received 02.06.2014, received in revised form 12.07.2014, accepted 15.08.2014 The main purpose of the present article is to study the art groups existing in Russia after 1917, included into the stream of world artistic culture. The present work presents the analysis of Russian Soviet pieces of art made in XX century, an overview of general culture and art issues together with the issues of phylosophy, aesthetics, literature, history of art, binding them to common artistic practice. The main body of the article is a comparative analysis of such groups of artists as “OBMOHU”, “Unovis”, “Segodnya”, “Detgiz”, “MHK”, “INHUK”, “Zorved”, “ASNOVA”, “OSA”, “Makovets”, “AHRR”, “4 iskusstva”, “OST”, “Krug Khudozhnikov”, “NOZH”, “MAI” carried out with historical and survey methods of research. The article introduces their main participants, leaders, postulates, ideas, theoretical platforms, times and places of their major exhibitions. In general, the research reproduces one edge of a very short, but intensive and lively period of the country’s life. Its high professionalism still remains the measure and criterion for assessing modern pieces of art. This article addresses to students of art institutes majoring in academic and applied specialities. Keywords: art groups, Soviet art, artistic platforms, artistic exhibitions, avant-garde and traditional art.
    [Show full text]
  • Mikhail Oshukov – REPRESENTATION of OTHERNESS in LITERARY AVANT-GARDE of EARLY TWENTIETH CENTURY
    REPRESENTATION OF OTHERNESS IN LITERARY AVANT-GARDE OF EARLY TWENTIETH CENTURY: DAVID BURLIUK’S AND EZRA POUND’S JAPAN Mikhail Oshukov TURUN YLIOPISTON JULKAISUJA – ANNALES UNIVERSITATIS TURKUENSIS Sarja - ser. B osa - tom. 430 | Humaniora | Turku 2017 University of Turku Faculty of Humanities School of History, Culture and Arts Studies Department of Comparative Literature Supervised by Professor Liisa Steinby, Professor Kirill Postoutenko, University of Turku Aarhus Institute of Advanced Studies Professor Pirjo Ahokas, University of Turku Reviewed by Professor Tomi Huttunen, Professor Vladimir Feshchenko, University of Helsinki Institute of Linguistics, Russian Academy of Sciences Opponent Professor Vladimir Feshchenko, Institute of Linguistics, Russian Academy of Sciences Cover image: by Maria Oshukova The originality of this thesis has been checked in accordance with the University of Turku quality assurance system using the Turnitin OriginalityCheck service. ISBN 978-951-29-6754-4 (PRINT) ISBN 978-951-29-6755-1 (PDF) ISSN 0082-6987 (PRINT) ISSN 2343-3191 (ONLINE) Painosalama Oy – Turku, Finland 2017 ABSTRACT The subject of the dissertation is the East‐West opposition and the image of Japan in the works of Ezra Pound and David Burliuk, representatives of European/American Vorticism and Russian cubo‐futurism respectively. The opposition is discussed in the cultural and historical context of the early twentieth‐century Russian and European avant‐garde esthetics with a focus on the typological similarities and radical differences between
    [Show full text]
  • Checklist of Russian, Ukrainian & Belarusian Avant-Garde
    Checklist of Russian, Ukrainian & Belarusian Avant-Garde & Modernist Books, Serials & Works on Paper at The New York Public Library & Columbia University Libraries Compiled by Robert H. Davis Jr., Columbia University & Cornell University Megan Duncan-Smith, Harvard University With an Introduction by Steven Mansbach, University of Maryland Academic Commons, 2015 Table of Contents Steven Mansbach. Radical Reading / Revolutionary Seeing. i-xv Robert H. Davis, Jr. Compiler’s Introduction xvi-xx Acknowledgments xxi The Checklist 1-169 Indexes Short Title Index 170-181 Manuscripts or Original Works of Art on Paper 182 Holding Institutions 182-185 Personal Name Index 186-197 Cover illustration of an original textile pattern, from No. 665, a book maquette titled Okt︠i︡abrʹ i profpechatʹ (proftextilʹ). [Moskva], 1924. (Columbia). Copyright © 2015 by Robert H. Davis, Jr. & Megan Duncan-Smith. Radical Reading / Revolutionary Seeing: An Introduction to Checklist of Russian, Ukrainian & Belarusian Avant-Garde & Modernist Books, Serials & Works on Paper at The New York Public Library & Columbia University Libraries Steven Mansbach, University of Maryland The manifold collections of Russian, Ukrainian & Belarusian avant-garde publications in the New York Public and Columbia University Libraries are as impressive in their breadth as they are significant in their history.1 They have become more than a singular research resource for Slavicists, and more than a telling record of the striking inventiveness that occurred in Eastern Europe early in the last century. Indeed, these rich holdings are essential for today’s scholars and for an ever-growing public keenly interested in the art, culture, and political history of Eastern and East-Central Europe during a period of dramatic and revolutionary change.2 Nonetheless, it is through the visual and literary history that the two collections document that one might best appreciate these holdings’ broadest value.
    [Show full text]
  • Anticipations of the Ideas of Contemporary Architecture in the Russian Avant-Garde
    E3S Web of Conferences 263, 05027 (2021) https://doi.org/10.1051/e3sconf/202126305027 FORM-2021 Anticipations of the Ideas of Contemporary Architecture in the Russian Avant-Garde Oleg Adamov* Moscow State University of Civil Engineering, Yaroslavskoe shosse, 26, Moscow, 129337, Russia Abstract. Leading contemporary architects stated their adherence to the ideas of the Russian Avant-garde that could be “injected” into the Western cultural background and might regenerate or revitalize it. Their approach could be accounted as “superficial sliding”, but quite deep interpenetration to the ideas and images of this culture is also revealed. So the point is, in what ways the inheritance occurs and cross-temporal interaction works in a design culture? The purpose of this paper is to clarify a nature of the multiple links between the working concepts of the masters of the Russian Avant- garde and contemporary Western architects emerging while their creative activity in relation to spatial constructions and affecting the meanings of architectural forms and images. The essay tried to apply the process approach to study the architectural phenomena, treated as a development of structuralism and post-structuralism methods, involving the construction of both synchronic and diachronic models. Comparative analysis of individual ways of designing and creating forms specific to the architects is also used. As a result the individual semantic structures are identified and their interconnections are found out at the different levels of conceptualizing: “picture” imitation and transfiguration; fragmentation; reticulated constructions; cosmos generating; spatial primary units; animated stain; bionic movement; autopoiesis. Tracing the links and transferring the ideas is possible at the meta-level by comparison the whole semantic structures specific for the different times architects, identified by means of reconstruction of their individual creative processes and representation of the broad figurative-semantic fields, referring to the various cultural contexts.
    [Show full text]