Archive

Issue: 1(15), 2011. Series: Multi-Topic

ARCHITECTURAL SPACE IN A.S. PUSHKIN'S TRAGEDY “BORIS GODUNOV”

UDK: 72.03:82«18»

Steklova I. A.

Registration number: 0421100065\0001

The interrelation of various forms of Russian art of the first half of the XIX-th century in the phenomenon of mutual penetration of such different esthetic spheres as literature and architecture is described. The Golden Age of Russian culture is searched comprehension of general fundamental principles of forms forming in art. Architecture as an ideal composite model is commoved contemporaries. Unlike many writers of his time, A.S. Pushkin didn’t criticize it, but he known the history and architecture practice and line up the essential component of art works.

Mechanisms of interaction of literature and architecture as exemplified by A.S. Pushkin’s works as an intermediary between real architectural forms and ordinary consumers of these architectural forms — his readers - are investigated. Concept “form” divides different arts, concreteness and specificity of art-shaped material and aesthetic functions, but it also unites all kinds and genres of art. The word “form” embraces a considerable part of Pushkin’s poetic-intellectual context. It marks not only the professional relation to various literary questions, but also the creativity vision in general, the phenomena of art in general. Forms both in poetry and in architecture really embody the result of the thought and the form of thinking in corresponding material, volume and plastic.

Poet’s relation with architecture, approaches to architectural space in his drama “Boris Godunov” is discernible. In his first tragedy A.S. Pushkin adapted the Time of Trouble history together with feelings and behavior people which did not appear to without definite symbols and signs. According to Pushkin's the specifics of the stage life seen in the responsibility excluding possible inaccuracy where the artistic truth dominates in attitude to the architecture as to the metaphorical forms of the organization of stage space. The temporal distance lined up so how semantic distance, besides poetic vision and objective character of composition lows.

Architectural characters by Pushkin are not the decorations but elements which everyone can hear and see in 23 situations, engaged in the representation of different ways. They are functional connections, restrictions and at the same time increase of actions reaching historical symbolism. They are plastic metaphor of Russian old time. Architecture in the tragedy “Boris Godunov” works not only in each form but in whole uniting moving space, architectonic of the tragedy contexture.