“Aurora Festival” Water Fairy Play (1967): Structure and System of Images

E. Slesar
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Abstract

This paper is focused on the analysis of the system of images and structure of the major "Aurora Festival" water performance timed to the fiftieth anniversary of the October Revolution and shown in the Neva waters in November 1967 in Leningrad. The artistic concept of the festival was prepared and introduced by the artists of "Dvizhenie" ("Movement") group under the leadership of V. Petrov and the director S. Yakobson. Image and plot reminiscences to V. Mayakovsky's "Mystery-Bouffe" play may be revealed in S. Yakobson's aesthetics concerned. The performance presented the synthetic allegoric water performance, in which the concepts of theatrical futurism, avant-guard and ideas of new synthetism having influenced on the monumental language of the mass Soviet performances of the 1970s were reflected. By representing the main ideologemes and inconsistencies of the time through the texture of water, light and fire, the performance has determined the artistic and aesthetic guidelines of future festival of school leavers: "The Scarlet Sails". The author refers to the method of historical reconstruction and description of the theatrical performance of Gvozdev's (Leningrad) theatre school. This paper is aimed at reconstructing "Aurora Festival" water performance and analyzing its artistic
“极光节”水仙戏(1967):图像的结构与系统
本文重点分析了1967年11月列宁格勒涅瓦河水域为纪念十月革命五十周年而举行的大型“极光节”水上表演的图像系统和结构。艺术节的艺术概念是由V. Petrov和导演S. Yakobson领导的“Dvizhenie”(“运动”)团体的艺术家们准备和介绍的。对马雅可夫斯基《神秘布夫》剧作的意象和情节的追忆,可以在雅各布森的美学中得到体现。此次演出呈现的是一种综合的寓言式水上表演,反映了20世纪70年代苏联大众表演的纪念性语言所受到的戏剧未来主义、先锋派和新综合主义思想的影响。通过水、光和火的质感来表现当时的主要意识形态和矛盾,表演确定了未来离校学生节日的艺术和美学指导方针:“猩红的帆”。作者引用了对列宁格勒戏剧学派戏剧表演进行历史重构和描述的方法。本文旨在对“极光节”水上表演进行重构,并对其艺术性进行分析
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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