Rituality in the ballet «The Rite of Spring» by I. Stravinsky: synaesthetic aspect
The article is devoted to examination of I. Stravinsky’s ballet «The Rite of Spring» in the focus of connections between rituality and synaesthesia (inter-sensible connections). The importance of the composer’s collaboration with the painter N. Roerich, the author of the scenery and the librettist of the ballet is noted. When referring to the scenario of the ballet, the archetypal symbolism embodied in the images of the Old woman in squirrel fur and the Wise Elder man is revealed. Throwing light on the meaning of the «rituality» concept, the researcher shows that the archetypes are correlated not only with the ritual, but also with synaesthesia. As the archetype appeals to the depths of memory, the same way it refers to synaesthesia pre-logical nonverbal thinking. The article presents the analytical descriptions of two episodes: «Spring fortune-telling. Dances of the Young Girls», «Procession of the Wise Elder». The researcher examines inter-sensible features associated with the specifics of ritual, such as the multi-coloured sound canvas, the effect of gravitational «swinging», as well as the special graphicity imparted by the exquisite rhythmic tracery of the score. It is emphasized that rituality, permeated with synaesthesia, manifested itself at the level of musical material in the form of a special timbre materiality, gravitational synaesthesia, as well as specific features of irregular rhythmics. The undertaken analysis makes it possible to demonstrate the variety of interactions between timbre, facture and rhythmic means that initiate a multifaceted spectrum of inter-sensible connections. It is evidence of a new composer’s view on the archaic which discovers an organic connection between rituality and synaesthetics.
I. Stravinsky, «The Rite of Spring», ballet, N. Roerich, rites, rituality, synaesthesia, archetype.