Antano Škėmos "Apokaliptinės variacijos" montažinio pasakojimo principo požiūriu

LTReikšminiai žodžiai: Antanas Škėma; Apokaliptinės variacijos; Apreiškimas; Lietuvių romanas; Meninė tikrovė; Montažas; Montažinis pasakojimas; Proza; Transcendencija; „Apokaliptinės variacijos“; Antanas Škėma; Apocalyptic variations; Artistic reality; Lithuanian novel; Montage; Montage narrative; Prose; Revelations; Transcendence; „Apokaliptinės variacijos“ (Apocalyptic variations).

ENThe aim of this article is to find out what are the meanings of montage technique of narration in The Apocalyptic Variations, one of the most complicated short prose narratives written by Antanas Škėma. The analysis is based on the Jurij Lotman’s idea that there are two types of montage. The first type is when two elements connected denote the same thing on semantic or logical level, but are represented in different modes. In the second type both the connected elements denote different things, but are represented in the same mode. The term ‘variations’ used in the title of the text introduces the composite mode of musical work built as variations on one main theme. The theme upon which the story of The Apocalyptic Variations is built is the Apocalypse. The Apocalypse taking place in modem Chicago is represented through the two plot lines or “variations” of two main characters, young girl Dorothy Brown and old black drunkard, homeless Louis Smith. Although not interrelated, both the characters experience the mysterious transition from the everyday reality to a kind of transcendental space governed by surrealistic film logic. The relation between the two “worlds” is expressed as musical dissonance that means the splitting of the harmony into many separate sounds. The narrative expressing the apocalyptic turn is arranged as a cross-interference of the two plot lines represented as series of camera made shots with many jump cuts. The montage technique in the text enables composing a large amount of heterogeneous information from sacred and profane semantic fields. Furthermore, montage principle of narration in The Apocalyptic Variations is semantisized as far as it is relevant to the apocalyptic vision of the contemporary cityscape turning into the artificial world ruled by film logics. [From the publication]