This article examines the phenomenon of seriality in verbal art, tracing the development of performative literature from ancient ritual texts to contemporary pop performances. Repeated reproduction and stage interpretation of a literary text sometimes lead to a significant renewal of the work's meaning. The author demonstrates that all poets and writers performing on stage work within a single algorithm. A work in a pop adaptation, by its very nature, differs from a traditional text of “paper culture”. There are numerous approaches to theatricalizing literary text: one-man shows, song poetry, pop poetry, etc. Representatives of this performative verbal culture include the following authors: E. Grishkovets, M. Zhvanetsky, A. Vertinsky, V. Vysotsky, M. Ancharov, A. Galich, M. Shcherbakov, V. Tsoi, A. Bashlachev, and others. “Pop” and “action” poets create specific cycles, primarily concert performances. The author selects a series of works for stage performance and arranges them in a specific order, thereby executing a cycle and conceptualization. This research article focuses on the concert practices of the “pop” poet Yevgeny Yevtushenko. His poetry recitals have a strict semantic logic: “beginning”, “development of the action”, and ending. At the same time, improvisation is also important to Yevtushenko. He responds to notes from the audience, answers questions, and sometimes uses poems as responses. Yevtushenko blends the “text of life” with the “text of creativity”, creating an atmosphere of dialogue with the audience. Thus, Yevtushenko's concerts are an interplay of two factors: the original concept and improvisation.
For citation: Gavrikov V.A. On seriality in verbal art: the concert practice of E. Yevtushenko, Ivanovo State University Bulletin, Series: Humanities, 2026, iss. 2, pp. 20—28.