ALLUSIONS TO THE ART NOUVEAU STYLE IN EUROPEAN SCENOGRAPHY OF THE BEGINNING OF THE 20TH CENTURY

Abstract

The relevance of defining the philosophical guidelines of the modern style (theurgism, vitalism, ornamentalism) for the formation of scenographic syntheses in the European culture of the beginning of the 20’th century is emphasized. The purpose of the article is to consider the phenomenon of stage synthesis of arts as a stylistic phenomenon in the context of the dialogue of cultures of the beginning of the 20’th century. The research methodology is presented with comparative and systemic approaches, transcendental, phenomenological, dialectical methods are used to characterize stage synthesis as the integrity of cultural creation. The study analyzed the philosophical reflection of practitioners and theoreticians of stage art. The scientific novelty of the article lies in the fact that it is proved how the phenomenon of modern synthesis of arts was formed on the basis of connotations with the reflection of the Silver Age, in particular theurgism, the vitalism of the modern style imitates the achievements of the philosophy of life, ornamentalism – the idea of ornamentation of the essence as a refrain of choreia (dance art) and areteia ( art therapy). Alexander Benoit, one of the founders of the “World of Arts”, in the system of choreographic culture, or scenogaphic syntheses, played approximately the same role as Igor Stravinsky. He was a leader, organizer and designer of many performances. His works are distinguished by the fact that the artist is more oriented towards the classics, the images have a clear compositional structure and the architecture of stage synthesis. The artist-philosopher, essayist acted as an artistic producer, etc. Benoit belongs to an ancient family of architects. The culture of this family unit became the modern culture of the 20’th century. Conclusions. Alexander Benoit created a modern paradigm. Other artists develop his stylistic findings, one of the features of the synthetic style is brought to maximum activity. Thus, Mykhailo Larionov brings the beauty and decorativeness of the scenography and costume to an exquisite and extremely redundant imperative, which turns into a kind of fairy-tale style. Natalia Goncharova transforms Oleksandr Benoit’s intentions into self-sufficient aesthetic formulas that resonate with the poetics of lubku, folk icon painting.