Результаты исследований: Научные публикации в периодических изданиях › статья › Рецензирование
Интертекстуальные связи между фильмами «Пиковая дама» П. Чардынина и Я. Протазанова, оперой П. Чайковского и иллюстрациями А. Бенуа к повести А. Пушкина. / Evallyo, VD.
в: НАУКА ТЕЛЕВИДЕНИЯ, Том 20, № 4, 2024, стр. 15-45.Результаты исследований: Научные публикации в периодических изданиях › статья › Рецензирование
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TY - JOUR
T1 - Интертекстуальные связи между фильмами «Пиковая дама» П. Чардынина и Я. Протазанова, оперой П. Чайковского и иллюстрациями А. Бенуа к повести А. Пушкина
AU - Evallyo, VD
N1 - Times Cited in Web of Science Core Collection: 0 Total Times Cited: 0 Cited Reference Count: 27
PY - 2024
Y1 - 2024
N2 - This article analyzes the reception by Pyotr Chardynin (1910) and Yakov Protazanov (1916) of Tchaikovsky's opera, The Queen of Spades (which is considered as an intertext of the films), drawing upon both the opera and Alexandre Benois' illustrations for Alexander Pushkin's story. The study aims to identify the two masters' unique cinematic poetics and how they interpreted the artistic images and semantic dominants of the opera. Five scenes serve as the focus for comparison: "Summer Garden," "Gambling House," "Barracks," "Countess's Bedroom," and "Winter Canal." Benois' illustrations significantly influenced Protazanov's 1916 film, as demonstrated through a formal stylistic analysis of its stills. Chardynin's film uses the opera's libretto as its foundation but centers its imagery on three cards, emphasizingthe mystical and dangerous secret that destroys the characters. Protazanov, like Tchaikovsky, delves deeper into Hermann's psychology, seeing it as a reflection of the existential themes of the Silver Age. While Chardynin employs a theatrical, box-setapproach to staging, Protazanov manipulates character placement-their detachment from or proximity to each other-using montage to create a quid pro quo effect. Thisvisual approach allows for a more nuanced interpretation of the drama.
AB - This article analyzes the reception by Pyotr Chardynin (1910) and Yakov Protazanov (1916) of Tchaikovsky's opera, The Queen of Spades (which is considered as an intertext of the films), drawing upon both the opera and Alexandre Benois' illustrations for Alexander Pushkin's story. The study aims to identify the two masters' unique cinematic poetics and how they interpreted the artistic images and semantic dominants of the opera. Five scenes serve as the focus for comparison: "Summer Garden," "Gambling House," "Barracks," "Countess's Bedroom," and "Winter Canal." Benois' illustrations significantly influenced Protazanov's 1916 film, as demonstrated through a formal stylistic analysis of its stills. Chardynin's film uses the opera's libretto as its foundation but centers its imagery on three cards, emphasizingthe mystical and dangerous secret that destroys the characters. Protazanov, like Tchaikovsky, delves deeper into Hermann's psychology, seeing it as a reflection of the existential themes of the Silver Age. While Chardynin employs a theatrical, box-setapproach to staging, Protazanov manipulates character placement-their detachment from or proximity to each other-using montage to create a quid pro quo effect. Thisvisual approach allows for a more nuanced interpretation of the drama.
KW - intertextuality
KW - reception
KW - The Queen of Spades
KW - Chardynin
KW - Protazanov
KW - frame composition
KW - silent film
KW - Hermann
KW - artistic image
U2 - 10.30628/1994-9529-2024-20.4-15-45
DO - 10.30628/1994-9529-2024-20.4-15-45
M3 - статья
VL - 20
SP - 15
EP - 45
JO - НАУКА ТЕЛЕВИДЕНИЯ
JF - НАУКА ТЕЛЕВИДЕНИЯ
SN - 1994-9529
IS - 4
ER -
ID: 161607645