Reception "perola barocca" (amazing pearl) in the modern artistic space of Ukraine

Authors

  • Tatyana Gumenyuk Kiev National University of Culture and Arts, Ukraine
  • Tatyana Krivosheya National Music Academy of Ukraine named after P.I.Tchaikovsky, Ukraine

DOI:

https://doi.org/10.32461/2226-3209.1.2019.166517

Keywords:

Baroque reception, “perola barocca”, gap, modern art practice, cultural and art project, modern opera, musical and theatrical performance.

Abstract

The purpose of the article is to consider contemporary Baroque receptions in Ukrainian artistic practices in the interconnection and intersection of cultures of different epochs. One of the options for such a connection of cultures is the reception. The methodology of the research consists of theoretical and interpretive models of analysis, the method of modeling the world-view characteristics of baroque sensuality in modern receptions (theoretical and cultural). The scientific novelty consists in the consideration of the project activity "Open Opera Ukraine" (performance "Didon and Aeneas" G. Purcell), in the disclosure of the relevance of baroque receptions in the modern process of growth. For the modern reconstruction of the composer's conception and baroque stage aesthetics, the authors of the project used the method of historically informed performance. The aesthetic-educational and ethical functions in this project are inseparable. The comprehension of a genius musical work, uniquely combined with the word about him, strengthens his essence as an amazing pearl - "perola barocca". Conclusions. The reception of the culture of the "golden aura" of the great epochs (Baroque) contributes to the restoration of cultural identity, warns against multicultural fragmentation, creates conditions for the establishment of links between cultural epochs. Art is a definite space in the holistic field of culture. Some of its species interact with the sociocultural environment. As a holistic system, they are historically volatile, evolving under the influence of various cultural and historical factors. The development and dissemination of modern information technologies not only brings to life new kinds and genres of art but also directly influences the process of creation and implementation of works of art, the nature of their perception by a wide audience. Awareness of the fact that modern man loses integrity, the traditional forms of art are destroyed and encourages us to turn to the baroque culture. Baroque aesthetics reminiscently turns into one of the main markers of mass culture.

Author Biographies

Tatyana Gumenyuk, Kiev National University of Culture and Arts

Doctor of Philosophy, Professor, Honored Worker of Education of Ukraine, Vice-Rector for Scientific and Methodical Work

Tatyana Krivosheya, National Music Academy of Ukraine named after P.I.Tchaikovsky

doctor of cultural studies, acting Professor

References

Бароко. Європейський словник філософій: Лексикон неперекладностей. Т. 2; [Пер. з франц.]. Львів: Дух і Літера, 2011. С. 301-315.

Беньямин В. Происхождение немецкой барочной драмы. Москва: Аграф, 2002. 228 с.

Дасса Ф. Барокко. Архитектура между 1600 и 1750 годами. Москва: Астрель, 2002. 160 с.

Делез Ж. Складка. Лейбниц и барокко. Москва: Логос, 1998. 264 с.

Жижек С. "Надо быть пессимистом в ожидании чуда..."// Худ. Журнал. 2008. № 67-68..

Ильин И. Постструктурализм. Деконструктивизм. Постмодернизм. Москва: Интрада, 1999. 256 с.

Каган М.С. Введение в историю мировой культуры. Книга вторая. Санкт-Петербург: Петрополис, 2003. 368 с.

Липовецкий М. Концептуализм и необароко // НГ Ex libris. Москва, 2000. № 7. С. 3.

Теоретическая культурология. Москва: Академический Проект; Екатеринбург: Деловая книга; РИК, 2005. 624 с.

Тоффлер Э. Третья волна. Москва: ООО «Издательство АСТ», 2004. 781 с.

Чижевський Д. До характерології слов’ян. Українці. Філософські твори: у 4-х томах. Т. 2. Київ: Смолоскип, 2005. С. 36-42.

Шкловський В. Конец барокко. Гамбургский счет. Статьи-воспоминания-эссе (1914-1933). Москва,1990. С. 448-454.

Calabrese, O. Lambert, C. Neo-Baroque. A Sign of the Times. Princeton Univ. Press. 2017. 252 р.

Jauss H. R. Tradycja literacka a dzisiejsza świadomość nowoczesności // Historia literatury jako prowokacja. Warszawa: Instytut Badań Literackich, 1999. р. 9-49.

Baroko. (2011). slovnyk filosofij: Leksykon neperekladnostej. T. 2; [Per. z francz.]. Lviv: Dux i Litera. pp. 301-315.

Benyamyn V. (2002). Proysxozhdenye nemeczkoj barochnoj drami. Moskva: Agraf. p. 228.

Dassa F. (2002). Barokko. Arxytektura mezhdu 1600 y 1750 godamy. Moskva: Astrel. p. 160.

Delez Zh. (1998). Skladka. Lejbnycz y barokko. Moskva: Logos. p. 264.

Zhyzhek S. (2008). "Nado bit pessymystom v ozhydanyy chuda..."// Xud. Zhurnal. pp. 67-68.

Ylyn Y. (1999). Poststrukturalyzm. Dekonstruktyvyzm. Postmodernyzm. Moskva: Yntrada. p. 256.

Kagan M.S. (2003). Vvedenye v ystoryyu myrovoj kulturi. Knyga vtoraya. Sankt-Peterburg: Petropolys. p. 368.

Lypoveczkyj M. (2000). Konceptualyzm y neobaroko // NG Ex libris. Moskva. # 7. p. 3.

Teoretycheskaya kulturologyya. (2005). Moskva: Akademycheskyj Proekt; Ekaterynburg: Delovaya knyga; RYK. p. 624.

Toffler E. (2004). Tretya volna. Moskva: OOO «Yzdatelstvo AST». p. 781.

Chyzhevskyj D. (2005). Do xarakterologiyi slov'yan. Ukrayinci. Filosofski tvory: u 4-x tomax. T. 2. Kyyiv: Smoloskyp. pp. 36-42.

Shklovskyj V. Konecz barokko. Gamburgskyj schet. Staty-vospomynanyya-эsse (1914-1933). Moskva. pp. 448-454.

Calabrese, O. Lambert, C. Neo-Baroque. (2017). A Sign of the Times. Princeton Univ. Press. p. 252.

Jauss H. R. (1999). Tradycja literacka a dzisiejsza świadomość nowoczesności // Historia literatury jako prowokacja. Warszawa: Instytut Badań Literackich. рp. 9-49.

Published

2019-01-22

Issue

Section

Культурологія