The article considers a special form of intermediality embodied in Blok’s creative thinking and genetically related to the intersection of lyric and theatricaldramatic principles in his poetry. The work emphasizes that one of the channels for introducing the “theatrical” code into Blok’s poetry follows the line of influence on it of dramas previously written by the poet and having a stage interpretation. Theatricality of this nature translates the semantic polyphony of Blok’s lyrics and the synthetics of his artistic thinking. The influence of Blok's drama “The puppet show”, staged by V. E. Meyerhold, on the “Snow Mask” is traced. In the lyrical cycle, the content-formal “echoes” of the play are revealed, not only as a literary, but also as a theatrical work. The comparison of the “Snow Mask” and the “The puppet show” carried out in the article allows us to reconstruct a fragment of Alexander Blok’s creative self-reflection. It is shown that in the lyrical cycle key motives, images, conflicts of drama are refracted, as well as some elements of its poetics are mastered. At the same time, in the “Snow Mask” the themes (“snow”, “blizzards”, “passions” of “death”) inherited from “The puppet show” lose their ironic sound and are interpreted by the poet in a tragic way. The structure of the art world of the “Snow Mask” also includes a figurative and motivational layer that captures the “theatricalization” of reality, characteristic of Blok’s environment during the creation of this lyrical cycle and fed by impulses coming from the production of “The puppet show” (rehearsal of the play; “evening of paper ladies” arranged after the premiere of the play).
Key words: A. Blok, drama “The puppet show”, lyrical cycle “Snow Mask”, “theatricality”, “echoes”, influence, irony, self-reflection.
Reference to article:
Koptelova N. G. “Echoes” of “the puppet show” drama in Alexander Blok's lyrical cycle “Snow mask” // // Ivanovo State University Bulletin. Series «The Humanities». 2020. No.1. P. 13-21.