Contemporary Russian Poetry and the Musical Avant-Garde: Performative Intersections

This paper is focused on a relatively new phenomenon: joint performances by poets and avant-garde (primarily electronic) musicians in contemporary Russia. In part, these performances are reminiscent of performances by American and Western European poets with jazz ensembles in the 1960s and 1970s. At...

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Autor principal:	Ilya Kukulin
Formato:	article
Lenguaje:	DE EN
Publicado:	Universität Trier 2021
Materias:	russian poetry of the 2010s intermedial poetry poetry and music stanislav lvovsky dina gatina deconstruction of the poetic subject Language and Literature P
Acceso en línea:	https://doaj.org/article/7eb7fc49854844cfbeeb2b3482c89dee
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id	oai:doaj.org-article:7eb7fc49854844cfbeeb2b3482c89dee
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spelling	oai:doaj.org-article:7eb7fc49854844cfbeeb2b3482c89dee2021-11-19T13:32:29ZContemporary Russian Poetry and the Musical Avant-Garde: Performative Intersections10.25353/ubtr-izfk-ccae-8e022698-492X2698-4938https://doaj.org/article/7eb7fc49854844cfbeeb2b3482c89dee2021-04-01T00:00:00Zhttps://izfk.uni-trier.de/index.php/izfk/article/view/IZfK-Vol-2-Contemporary-Russian-Poetry-and-the-Musical-Avant-Gardehttps://doaj.org/toc/2698-492Xhttps://doaj.org/toc/2698-4938This paper is focused on a relatively new phenomenon: joint performances by poets and avant-garde (primarily electronic) musicians in contemporary Russia. In part, these performances are reminiscent of performances by American and Western European poets with jazz ensembles in the 1960s and 1970s. At that time in the Soviet Union, this practice was almost unheard of: when intermedial experiments did take place, poets – particularly the so-called “official” poets – turned not to music but to theatre. The most important elements of these performances were their emphases on virtuosic improvisation, the theatrical immediacy of what was taking place, and creating a community around the performer. In contrast, contemporary collaborations between poets and musicians largely demonstrate the non-self-sufficiency of their respective media and, in doing so, deconstruct the very premise of the poetic (lyric) subject. My contention is that intermediality as such – in this case, the interaction between music and poetry – could thus be the most important tool available for creating a “poetry without a subject.” Moreover, in practice, it has acquired a salient social and political meaning in modern Russia: depicting culture as a space of individualized dialogues and polylogues.Ilya KukulinUniversität Trierarticlerussian poetry of the 2010sintermedial poetrypoetry and musicstanislav lvovskydina gatinadeconstruction of the poetic subjectLanguage and LiteraturePDEENInternationale Zeitschrift für Kulturkomparatistik, Vol 2, Pp 171-194 (2021)
institution	DOAJ
collection	DOAJ
language	DE EN
topic	russian poetry of the 2010s intermedial poetry poetry and music stanislav lvovsky dina gatina deconstruction of the poetic subject Language and Literature P
spellingShingle	russian poetry of the 2010s intermedial poetry poetry and music stanislav lvovsky dina gatina deconstruction of the poetic subject Language and Literature P Ilya Kukulin Contemporary Russian Poetry and the Musical Avant-Garde: Performative Intersections
description	This paper is focused on a relatively new phenomenon: joint performances by poets and avant-garde (primarily electronic) musicians in contemporary Russia. In part, these performances are reminiscent of performances by American and Western European poets with jazz ensembles in the 1960s and 1970s. At that time in the Soviet Union, this practice was almost unheard of: when intermedial experiments did take place, poets – particularly the so-called “official” poets – turned not to music but to theatre. The most important elements of these performances were their emphases on virtuosic improvisation, the theatrical immediacy of what was taking place, and creating a community around the performer. In contrast, contemporary collaborations between poets and musicians largely demonstrate the non-self-sufficiency of their respective media and, in doing so, deconstruct the very premise of the poetic (lyric) subject. My contention is that intermediality as such – in this case, the interaction between music and poetry – could thus be the most important tool available for creating a “poetry without a subject.” Moreover, in practice, it has acquired a salient social and political meaning in modern Russia: depicting culture as a space of individualized dialogues and polylogues.
format	article
author	Ilya Kukulin
author_facet	Ilya Kukulin
author_sort	Ilya Kukulin
title	Contemporary Russian Poetry and the Musical Avant-Garde: Performative Intersections
title_short	Contemporary Russian Poetry and the Musical Avant-Garde: Performative Intersections
title_full	Contemporary Russian Poetry and the Musical Avant-Garde: Performative Intersections
title_fullStr	Contemporary Russian Poetry and the Musical Avant-Garde: Performative Intersections
title_full_unstemmed	Contemporary Russian Poetry and the Musical Avant-Garde: Performative Intersections
title_sort	contemporary russian poetry and the musical avant-garde: performative intersections
publisher	Universität Trier
publishDate	2021
url	https://doaj.org/article/7eb7fc49854844cfbeeb2b3482c89dee
work_keys_str_mv	AT ilyakukulin contemporaryrussianpoetryandthemusicalavantgardeperformativeintersections
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Contemporary Russian Poetry and the Musical Avant-Garde: Performative Intersections

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