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1

„Книга художника” как интермедиальный дискурс

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Bobilewicz G.

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nr 2

EN

The article is devoted to an analysis of various representations of the “Artist’s book” genre in modern Russian and world art. These representationsfunction within the framework of the paradigm of art that refers to issues such as inter- and multimedia, the model of a broadly talented artist, the concept of a multi-material work of art and the interactive act of perception. The analysis of the issues connected with verbal and visual representations of the “Artist’s book” has been based on the superordinate ‘word and picture’ formula and the interpretative indicators determined by generic diversification and the dialogue with other kinds of art: the relationship with painting and sculpture, the book as an object, ready made, mail-art, an artistic project (audiovisual book, photo- and body-art book, book-performance), as well as by the act of reception. In intermedia discourse, the “Artist’s book” functions within the cultural, artistic and aesthetic perspective, between art and communication.

RU

The article is devoted to an analysis of various representations of the “Artist’s book” genre in modern Russian and world art. These representationsfunction within the framework of the paradigm of art that refers to issues such as inter- and multimedia, the model of a broadly talented artist, the concept of a multi-material work of art and the interactive act of perception. The analysis of the issues connected with verbal and visual representations of the “Artist’s book” has been based on the superordinate ‘word and picture’ formula and the interpretative indicators determined by generic diversification and the dialogue with other kinds of art: the relationship with painting and sculpture, the book as an object, ready made, mail-art, an artistic project (audiovisual book, photo- and body-art book, book performance), as well as by the act of reception. In intermedia discourse, the “Artist’s book” functions within the cultural, artistic and aesthetic perspective, between art and communication.

2

Werbalna i wizualna reprezentacja ogrodów w Rosji XVIII i początku XIX wieku

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Bobilewicz G.

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nr 1(4)

73-96

EN

Gardens may function as specific coded messages, as texts that are written in the language of nature by means of words or pictures. In order to decipher the garden (a text- -code) correctly one has to find an appropriate key by looking for superimposed senses. The analysis of the verbal and visual representation of gardens in the Russian and European cultures at the end of the 18th and the beginning of the 19th century was based on the principal formula “The garden and texts” (verbal and visual) […]. The material illustrating the issues was chosen mainly from literary works. Those who create gardens combine professional knowledge from different fields and express themselves through various media and materials at the same time. The verbal and visual representation of the garden and its codes come from texts that differ with regard to the genre and semantics, for example from professional and theoretical writings, literature, albums, works of art, real gardens, etc. However, it is the verbal element that plays a dominant role in the interpretation of a work of art, hence frequent returns to the literal, though functionally varied, context. In the verbal discourse of the Russian and European culture at the end of the 18th and the beginning of the 19th century the garden functions at the structural level (compositional dominant, textual dominant of the pragmatic, emotional and aesthetic layer) and the semantic level (garden toponyms, genius loci, lexemes, the use of metaphors, symbolism, verbal code, etc.). The translation, representation and interpretation of the garden through words form a part of creating the model of the garden as the topos of humankind. The visual discourse conceptualizes real gardens as texts varied with regard to nationality, culture and tradition, and as a model of garden art, which becomes an inspiration for innovations concerning content and form in Russian and European literature and fine arts. In the verbal-visual discourse the garden functions at the level of aesthetics, poetics, perceptive processes and memory mechanisms.

3

Интермедиальная концепция пространства в саундрамах Владимира Панкова

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Bobilewicz G.

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nr 1

PL

INTERMEDIALNA KONCEPCJA PRZESTRZENI W SAUNDRAMACH WŁADIMIRA PANKOWA Artykuł poświęcony jest roli fenomenu intermedialności w konstruowaniu przestrzeni w synkretycznym i wielorodzajowym gatunku przedstawienia teatralnego określanym przez jego twórcę - rosyjskiego reżysera Władimira Pankowa, mianem saundrama. Ten eksperymentalny, niekanoniczny rodzaj sztuki teatralnej syntetyzuje znakowe kody różnych systemów (dźwiękowy, werbalny i wizualny). Przestrzeń w saundramie indywidualizuje i różnicuje zespół różnorodnych reżyserskich konceptów, konstruowanych w oparciu o zasadę improwizacji, kompilacji teatralnych gatunków, rodzajów sztuk, chwytów teatralnych, sugestywnych, wyrazistych środków i technik oraz sposobów gry aktorskiej. W koncepcji Pankowa medialną dominantą saundramy jest dźwięk we wszystkich jego przejawach. Sposób organizacji materiału dźwiękowego i muzycznego modeluje przestrzeń i narrację, tworzy związki znaczeniowe. Saundrama, jako sztuka dźwięku, przeznaczona jest zarówno dla odbioru słuchowego, jak i wzrokowego. THE INTERMEDIA CONCEPT OF SPACE IN VLADIMIR PANKOV’S SOUNDRAMAS The paper focuses on the role of the phenomenon of intermediality in constructing the space in the syncretic and mulitigenre type of theatre performance which is described by its author - the Russian director Vladimir Pankov - as a soundrama. This experimental, non-canonical type of theatre performance synthesizes sign codes of various systems (sound, verbal and visual). The space in the soundrama is individualized and diversified by a set of various stage ideas based on improvisation and compilation of theatre genres, types of performances, tricks, evocative and expressive means and techniques, and types of acting. According to Pankov, the dominant media feature of the soundrama is the sound in all its hypostases. The organization of the sound and music material shapes the space and narration, and creates meaning relations. The soundrama as an art of sound is intended for both auditory and visual reception.