| Abstrakt: |
The assumption of similarity between artistic speech melody and music was deeply rooted in Russian Symbolism and based on the culturally established analogy between poetry/lyrical prosody and music. This connection was the basis for a wide range of performative practices focused on performed word such as the experiments of director Vsevolod Meyerhold and composer Mikhail Gnesin in Petrograd theater studios in 1900–1910s, and the collective declamation of Vasilii Serezhnikov and Vsevolod Vsevolodskii-Gerngross. However, after the October revolution, this analogy not only inspired new artistic paths, but also new approaches in humanities. This article explores the correlation between a practice-based strategy and advanced theory that characterized the structure and curricula of the Petrograd Institute of the Living Word (Institut zhivogo slova; 1918–1924). Its specific institutional features affected the development of disciplines in the fields of linguistics, poetics, and literary studies. The earlier period of its work (1918–1921) was defined by the search for common ground, which could unite representatives of different disciplines. The study of the melody of speech, which this article is focused on, became one of the key joint research projects of the Institute's team. It is the perspective of the Institute of the Living Word's research projects and performance-related art practices that is used for analysis of the Russian Formalist approaches in the 1910s–20s, specifically articles and books of philologist Boris Eikhenbaum on the melody and composition of verse intonation. [ABSTRACT FROM AUTHOR] |
