Semantic Metamorphoses of The Scarlet Sails Festival
Bibliographic Data
| ID | 22040478 |
|---|---|
| Authors | E A Slesar (0000-0002-0999-7500, Saint Petersburg State University of Culture and Arts, corresponding author) |
| Year | 2022 |
| Issue | 1 |
| Pages | 196-243 |
| Publication date | 2022-02-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Art & Culture Studies (JOURNAL) |
| Journal identifiers | ISSN: 2226-0072 • E-ISSN: 2226-0072 |
| Publisher | Federal State-Financed Scientific Institution State Institute for Art Studies (PUBLISHER) |
| DOI | 10.51678/2226-0072-2022-1-196-243 |
| OpenAlex | W4214559494 |
| Language | EN |
| Citations received | 2 |
| References cited | 4 |
The USSR staging practices, which passed into and later took roots in the post-Soviet Russian performance culture, accelerated the processes of mass culture sovietization and paved the way for the development of the utopian motives inherent in the official performative practices. This research is relevant, since the study of the properties of semantic lability of the Soviet performance forms makes it possible to clarify the functionality and cultural significance of contemporary mass performances. The Scarlet Sails Festival was chosen as a study material, since it is a sample of the Soviet performance that has been successfully integrated into the post-Soviet calendar of festivals. This paper is focused on the issue of semantic distortion of the plot and character schemes of A. Grin’s (1880–1932) fairy tale The Scarlet Sails (1922) in the context of the Soviet mass theatrical performance of the same name: The Scarlet Sails Festival (1970, directed by A. Orleansky; 1972, directed by I. Rakhlin). This research aims to analyze the semantic shifts in The Scarlet Sails theatrical performances (1970, 1972) in its dialogic connection with the literary original. The scientific problem of the paper is to reveal the mechanisms and forms of integrating the Soviet indoctrinal discourse into the texture of the theatrical performance. The reconstruction based on the archive materials shows a steady deviation from A. Grin’s original narrative towards the dominating Soviet myth. The author concludes that the principles of duplication and montage underlying the performance resulted in semantic distortion of the priority character, events, and motives. The analysis of the artistic structures of the performance reveals that the original was converted by means of generating analogous artistic forms and artificial semantic convergence that is characterized by forced superimposition of acoustic and visual quotations and ideologemes of the Soviet mass culture on A. Grin’s story. This research reveals heterogeneous elements of the performance (e.g. vows, ancestor worship, narrative of threats), which articulated the relevant axiological agenda. This research is based on the methods of reconstruction and description of the phenomena of the Soviet official performance culture within Herrmann and Gvozdev’s (Leningrad, St. Petersburg) school of theatre studies
Aesthetics · Archaeology · Art · Dialogic · Literature · Mythology · Narrative · Performative utterance · Discourse Analysis and Cultural Communication · History · Security, Politics, and Digital Transformation · Sociopolitical Dynamics in Russia
| Citations per year | 0.67 |
|---|---|
| Citation span | 2023 - 2023 (1) |
| Highly cited | No |