UDC 78.071.1
DOI: 10.36871/hon.202303036
Authors
Galina V. Zadneprovskaya,
Lomonosov Moscow State University, 125009, Russian Federation, Moscow
Abstract
The article is devoted to the work of Iraida Yusupova, one of the brightest representatives of modern Russian musical art, the creator of a new genre — media opera. Yusupova’s compositional thinking reflects the aesthetics of conceptualism, more precisely, as defined by the composer V. Martynov, Moscow musical post-conceptualism, and it is this “aesthetic” perspective of Yusupova’s works that is chosen in this study. The article reveals the theoretical aspects of the aesthetics of conceptualism in the works on philosophy and their extrapolation to musical art. While considering Yusupova’s media operas (“Aelita, or the Tragic History of the Revolution on Mars”; “Opera Marina”; “Cryptophonics”; “Theremin’s Last Secret”; “Einstein and Margarita, or Found in Translation”) the principles of conceptualism are demonstrated, such as the dominance of an idea-concept subjugating the entire composition; the creation of a multi-layered (“multi-screen” according to the philosopher A. R. Apresyan) space of the work; a clear idea of the synthesis of arts; the use of favorite and typical forms of conceptualism (performance, video installation, interactive puppets, simultaneous translation titles, etc.). The role of the outstanding poet and performer D. A. Prigov, who stood at the origins of Moscow conceptualism, in the search for and implementation of conceptual ideas in Yusupova’s media operas is shown. At the end of the article, a conclusion is made about a special property of the composer’s works based on the aesthetics of conceptualism — the “openness” of the conceptual work, which in the process of “communication” with the viewer grows with new meanings and improves, while the viewer turns into a co-author.
Keywords
modern Russian opera, media art, Moscow musical conceptualism, Iraida Yusupova, Dmitry Prigov, media opera “Einstein and Margarita, or Found in Translation”
