{"title":"在神和我神之间:剧院和戏剧的边界在赫列布尼科夫","authors":"Марио Карамитти (Mario Caramitti)","doi":"10.1016/j.ruslit.2022.09.005","DOIUrl":null,"url":null,"abstract":"<div><p>Khlebnikov’s dramaturgical texts – little-known, little-studied, and even less staged – are in a variety of genres and forms (poetry, prose, or a mix of both), and have a variety of themes and settings. They are united by Khlebnikov’s sustained interest in theatricality: the theatricalization of gestures, of one’s life and everyday behaviour, a sort of self-theatre. An overall interpretative key may be offered by the two meanings of ‘vision’: spectacle – Khlebnikov’s creation of vivid, expressive scenes to impress the eyes; and perception – Khlebnikov’s expression of his “science” of the universe. The article explores the composition, purpose, and functions of the predominantly supernatural characters, particularly the semi-parodic role of <em>deus ex machina</em>. The general term “theatre of the impossible” (Grigor’ev) covers both the especial difficulty of staging Khlebnikov’s works, and their extreme density of semantic and visual hues. This idiosyncratic substitute for the superficially mimicked genre of tragedy ultimately resolves in collapse, implosion of the whole textual structure, when self-oriented and self-sufficient verbal layers collide.</p></div>","PeriodicalId":43192,"journal":{"name":"RUSSIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Между богами и я-богом: границы театра и театральности у Хлебникова\",\"authors\":\"Марио Карамитти (Mario Caramitti)\",\"doi\":\"10.1016/j.ruslit.2022.09.005\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<div><p>Khlebnikov’s dramaturgical texts – little-known, little-studied, and even less staged – are in a variety of genres and forms (poetry, prose, or a mix of both), and have a variety of themes and settings. They are united by Khlebnikov’s sustained interest in theatricality: the theatricalization of gestures, of one’s life and everyday behaviour, a sort of self-theatre. An overall interpretative key may be offered by the two meanings of ‘vision’: spectacle – Khlebnikov’s creation of vivid, expressive scenes to impress the eyes; and perception – Khlebnikov’s expression of his “science” of the universe. The article explores the composition, purpose, and functions of the predominantly supernatural characters, particularly the semi-parodic role of <em>deus ex machina</em>. The general term “theatre of the impossible” (Grigor’ev) covers both the especial difficulty of staging Khlebnikov’s works, and their extreme density of semantic and visual hues. This idiosyncratic substitute for the superficially mimicked genre of tragedy ultimately resolves in collapse, implosion of the whole textual structure, when self-oriented and self-sufficient verbal layers collide.</p></div>\",\"PeriodicalId\":43192,\"journal\":{\"name\":\"RUSSIAN LITERATURE\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"RUSSIAN LITERATURE\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://www.sciencedirect.com/science/article/pii/S0304347922000928\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE, SLAVIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"RUSSIAN LITERATURE","FirstCategoryId":"1085","ListUrlMain":"https://www.sciencedirect.com/science/article/pii/S0304347922000928","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE, SLAVIC","Score":null,"Total":0}
Между богами и я-богом: границы театра и театральности у Хлебникова
Khlebnikov’s dramaturgical texts – little-known, little-studied, and even less staged – are in a variety of genres and forms (poetry, prose, or a mix of both), and have a variety of themes and settings. They are united by Khlebnikov’s sustained interest in theatricality: the theatricalization of gestures, of one’s life and everyday behaviour, a sort of self-theatre. An overall interpretative key may be offered by the two meanings of ‘vision’: spectacle – Khlebnikov’s creation of vivid, expressive scenes to impress the eyes; and perception – Khlebnikov’s expression of his “science” of the universe. The article explores the composition, purpose, and functions of the predominantly supernatural characters, particularly the semi-parodic role of deus ex machina. The general term “theatre of the impossible” (Grigor’ev) covers both the especial difficulty of staging Khlebnikov’s works, and their extreme density of semantic and visual hues. This idiosyncratic substitute for the superficially mimicked genre of tragedy ultimately resolves in collapse, implosion of the whole textual structure, when self-oriented and self-sufficient verbal layers collide.
期刊介绍:
Russian Literature combines issues devoted to special topics of Russian literature with contributions on related subjects in Croatian, Serbian, Czech, Slovak and Polish literatures. Moreover, several issues each year contain articles on heterogeneous subjects concerning Russian Literature. All methods and viewpoints are welcomed, provided they contribute something new, original or challenging to our understanding of Russian and other Slavic literatures. Russian Literature regularly publishes special issues devoted to: • the historical avant-garde in Russian literature and in the other Slavic literatures • the development of descriptive and theoretical poetics in Russian studies and in studies of other Slavic fields.