Plot and Zaum’ (Nonsense)
The article is devoted to the famous poem by Semyon Isaakovich
Kirsanov (1906–1972) «Mary rider» (1925). A poem was written in the middle
of the Soviet 1920-ies, exactly expresses the spirit of the first revolutionary decade.
The era took a resolute policy of rapprochement with the art of cinema and
a circus. The ancient art of the circus close to the primordial basics of life.
It always felt fun, spirit of adventure and a real physical danger. The article consists of three sections.
The first section describes sources of the poem. Given the system of four
prepared by the author editions. The first two were published in 1920 year, the
third and the fourth only in the 1960–1970-ies, after the catastrophic events of
the mid-twentieth century. Contains information about the archival materials
associated with the creative history of poems. Recreated the story of two recordings
of the author\s reading of the poem (they were made by S. I. Bernstein and
A. A. Shilov).
The second section gives an overview of the responses belonging to the first
generation of readers and listeners of the poem. Kirsanov was famous not only
as a poet but also as a brilliant performer of his poems. The survey shows the
rejection of a futuristic experiment official, and far from the authorities and official
critics. Show and those cases where the critics and the audience expressed
approval eccentric poetics of Kirsanov.
Third on behalf of the heroine and the plot of the poem: it tells about the
death of a rider during the execution of the rooms of the circus program. In the
history of Russian poetry of the name Mary is associated with two cases of its
use in the poetry of A. S. Pushkin. In the XX century poetry and drama
A. A. Block with the name Mary contacted new meanings and values. After the
publication of the poems of the Block associated with the character named
Mary, given motivic complex was repeatedly reproduced from poets, imitators.
The name Mary and the image of the circus arena and closer to the poem
Kirsanova (in the poetry of A. I. Venediktov, and A. E. Belinzon). But only
Kirsanov was able to associate with that image acutely dynamic and tragic story,
embodied in the aesthetics of futurism and the literary group LEF.
The fourth section describes in detail the composition of the poem and the
principles of the relationship between narrative and evocative (unintelligible)
parts of the test. Onomatopoeia effectively simulates the sound of a circus band.
Shows how consistently the story destroys the balance between narrative and
evocative, and as he recovered in the final poem.
Audio applications to the article can be listened to by links: 1 , 2
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