Čiurlionio simfoninė poema "Jūra" mitologiniu požiūriu

LTStraipsnyje atsispindi autorės bandymas paaiškinti Čiurlionio muzikinę kūrybą, žvelgiant nauju tyrinėjimo rakursu. Mitinis suvokimas, kaip XX a. meniniam mąstymui būdinga kategorija, sujungia stilistiškai skirtingus įvairių tipų šiuolaikinio meno kūrinius. Tokio suvokimo pagrindas - iš kultinių bei archetipinių vaizdinių išsikristalizavusi mitologema, kuri, adaptuodamasi individualioje kūrybinėje mąstysenoje, įgyja naują kūrybos funkciją, paremtą ne pasakojamuoju pradu, bet metaforiškumu - alegorija ir parabole, rituališkumu ir kosmologiniu pasaulėvaizdžiu, taip pat psichinėmis pasąmonės struktūromis. Mitinio suvokimo apologetu gali būti laikomas ir Čiurlionis, paskleidęs šią idėją savo novatoriškoje tapyboje ir vėlyvojo laikotarpio muzikoje. Analizės objektu straipsnyje pasirinkta jo simfoninė poema „Jūra" simfoniniam orkestrui ir vargonams. Bendroji poemos koncepcija, struktūra ir muzikinė plėtotė tiriamos remiantis siūlomo mokslinio požiūrio prielaida. [Iš leidinio]Reikšminiai žodžiai: Mikalojus Konstantinas Čiurlionis; Simfoninė poema „Jūra“; Mitinis suvokimas; Archetipas; Vandens mitologema; Mikalojus Konstantinas Čiurlionis; Symphonic poem "The Sea"; Mythological consciousness; Archetype; Mythologeme of water.

ENBefore the beginning of the 20th century the theory of mythology was classified as an instrument of knowledge, psychology of perception and analysis of artistic work. The efforts of scientists and cultural practitioners are aimed towards the single tree of knowledge whose origins ensue from the myth. The concept of "mythological consciousness" which is associatively combined with mythological thinking applies through separate elements of schemes rather than integral fore-schemes. It seems that the super-temporal image of the myth is preserved, but its semantic context is different which in turn always changes the functionality of the image. The resulting agility, constant non-determinacy of meaning in the presence of individual integrity of the archetypical and the contextual (like in Chagall's and Picasso's art) opened colossal avenues for the deflection of mythological thinking in the art of yet recent past and nowadays' art. As a category characterizing the 20th century artistic reasoning, mythological perception incorporates works of contemporary art in its varieties and individual creative differences. Such a perception is built on the transformed mythologeme resulting from hieratic and archetypical perceptions, which obtains a new creative function through its adaptation to an individual creative function. The context of mythological perception unites representatives of literature and various arts, including the art of cinema which, by virtue of its specifics, has created innovative forms of reflecting t lic above artistic phenomenon. The 20th century musical art, which inherited mythology from Wagner,nonetheless, evolved in the tideway of free and associative mythologisation of art thereby appealing not as much to narrative series than to metaphors (allegory and parable), rituality and cosmogonic vision, subconscious mental structures.Čiurlionis who promoted this idea in his later period innovative paintings and music can be recognized as an apologist of the mythological perception. The analysis is focused on The Sea, a poem for orchestra whose overall concept, structure and musical development are explored based on the proposed scientific premise. The construction of the form in Čiurlionis' symphonic poem The Sea is distinguished by two interrelated principles: the intactness of the initial formula of thematism at its deeper level, and the alteration of the perspectives and tempo-rhythm of development. The composer's biplane vision of entirety implies a specific unification of spatial-temporal features. Like the constructive ideas in his paintings created during the same period when the concerned orchestral work was written, Čiurlionis the composer was inclined to constant shifting of semantic accents, first of all, the pattern and rhythm, thereby creating the perspective of expanding planes. It is noteworthy that the polyphonic and thematic correlations (including the mirrored versions of leading motives) are functionally secondary to the role of the pattern and rhythm which by virtue of their spatial- temporal features ensure the dynamics of expansion of each plane separately along with highlighting their differences on the background of thematic identity. The overall logic of this process is largely similar to the mythological one: like mythic time, here musical time is characterized, as Claude Lévi- Strauss mentions, by "dual nature of time, its irrevocability and revocability, synchrony and diachrony". [From the publication]