The study of the techniques of intermediality in the poetry of N.A. Nekrasov allows us to trace the unique experience of mastering and artistic transformation of the principles of theatrical art in a poetic text. Reliance on the principles of intermediality laid down in stage folk art, in theatrical action, contributed to the renewal of the poetic tradition, which Nekrasov undertook in the middle of the 19th century. Simultaneously with immersion in the intermediate spheres, Nekrasov, as an artist, experiences impulses of creative self-development. The article discusses the techniques of intermediality, which most clearly reflect the lines of active creative searches of Nekrasov when working on the poem “Who lives well in Russia”, in particular, the methods of scenic design of the episode due to saturation of the artistic space with game folklore elements (“Prologue”), the techniques of profane-game disclosure of the heroes of wanderers in order to emphasize the Russian mentality, the mechanisms of a musical-figurative plan to create spherical-surround sound of poetic motifs. The synthesized nature of these techniques reflects the author’s large-scale plan and determines the mysterious modulation of shaping. Thanks to the entry into the intermediate creative sphere, Nekrasov achieves the effect of a voluminous artistic space filled with signs of the living manifestation of the Russian world of the post-reform period.
For citation:
Pavlovskaya O.A. Techniques of intermediality in N.A. Nekrasov’s poem “Who lives well in Russia”, Ivanovo State University Bulletin, Series: Humanities, 2022, iss. 1, pp. 66—74.