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The role of musical inclusions in Turgenev’s dramatic texts
https://doi.org/10.28995/2686-7249-2024-10-34-46
Abstract
The article asserts the thesis that the innovation of Turgenev’s dramaturgy consists in combining musical and verbal texts. There are many works considering the writer’s allusions to musical works in prose genres. There are known studies on the joint work of the writer and singer – Pauline Viardot. A number of works show the influence of music on the artistic style and philosophy of the writer’s work Alekseev M.P. [Alekseev 1918], Gozenpud A.A. [Gozenpud 1994], Domansky V.A. [Domansky 2018], Samorodov M.A. [Samorodov 2015], Rybko I.A., [Rybko 2021], etc.). However, we are not aware of works that consider musical inclusions in the text of comedies and scenes of early Turgenev. The article shows that the techniques of including musical numbers in the texts of the librettos written by Turgenev for operettas to the music of Polina Viardot were tested by the writer in his dramatic experiments of the forties. Comedies, scenes and librettos of operettas should be considered as a single system. This approach allows for seeing how the writer’s dramatic concept and his understanding of theatricality were formed.
About the Author
M. M. OdesskayaRussian Federation
Margarita M. Odesskaya, Dr. of Sci. (Philology), associate professor
bld. 6, Miusskaya Square, Moscow, 125047
References
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Supplementary files
For citation: Odesskaya M.M. The role of musical inclusions in Turgenev’s dramatic texts. RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, Series. 2024;(10):34-46. https://doi.org/10.28995/2686-7249-2024-10-34-46
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