Academic literature on the topic 'Khlebnikov, Velimir, 1885-1922 Language'

The article establishes and for the first time describes in detail the dialogue relationship of the Leningrad rock band “Auktyon” and the avantgarde poet Aleksei Khvostenko (1940–2004) with the poetic heritage of Velimir Khlebnikov (1885–1922). The author notes the closeness of the poetry of a major figure of the Russian avant-garde of the turn of the 19th and 20th centuries with the poets and musicians of the underground of the second half of the 20th century. The research is based on the analysis of the reception of Velimir Khlebnikov’s poetry in the album “Zhilets vershin” (The summits dweller) (1995). The author defines the levels of the poetic dialogue of rock musicians with the work of the futurist and describes the structural and informative changes that the original texts have undergone in comparison with their existence in the musical creativity of the band “Auktyon”. The formation of the album in rock culture determines the specifics of the dialogue, mainly it is the correlation of the texts of other poets in the album and their transformation. The group of Khlebnikov’s lyrical works, which were selected and reworked by Khvostenko for the album, are considered from the point of view of their chronological sequence and the deployment of the lyrical plot. The author identifies the changes that the original texts have undergone and analyzed such cycle-forming connections of the album “Zhilets vershin” as the composition, title and chronotope.

Orientador: Regina Aparecida Polo Muller
Acompanha Anexo B (Video de 35min - Ka: hipermidia sobre a obra de Velimir Khlebnikov)
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa é a descrição do processo iniciático em performance e xamanismo na criação do espetáculo Ka ¿ Cena Zaum de Vélimir Khlébnikov, do ponto de vista da atuação. Encenado por Renato Cohen no ano de 1998, como conclusão do curso de graduação em Artes Cênicas da Unicamp, o espetáculo teve um rico processo de preparação dos atores pela via ritual e performática. Os workshops de criação, os ensaios do grupo e as apresentações públicas são analisados a partir de registros pessoais (caderno de anotações) e visuais (fotografias e filmagens de ensaios e apresentações). A reflexão sobre o treinamento ritual é feita a partir da descrição dos encontros com o xamã Lynn Mário e das cenas que surgiram sob essa influência. A condução do encenador é também analisada, assim como as cenas e os locais de apresentação. Alguns temas surgiram do envolvimento com a pesquisa como a criação a partir da Body Art, do Treino e do Fluxo na interpretação. A orientação da pesquisa teve início em 2002 com Renato Cohen, que por ocasião de sua morte passou a ser orientada pela Profª Dra. Regina Polo Müller
Abstract: This research is the description of the initiation process in performance and shamanism in the play Ka ¿ Cena Zaum de Vélimir Khlébnikov, according to the actor's point of view. Staged by Renato Cohen in 1998, as conclusion to my graduation course in Drama Studies at Unicamp, the play was rich in the process of actor training in ritual and performance. The group workshops, rehearsals and public shows are analysed from personal and audiovisual records, as well as the ritual experiences and according to the way Cohen used to lead the group. The reflection of the ritual training is done through the description of the encounters with the shaman Lynn Mário and the scenes that emerged as a consequence of this experience. Some themes came up during this research such as Body Art, Training and Flow in contemporary acting. This academic orientation was started in 2002 by Renato Cohen and after his death was later continued by Regina Müller
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Mestre em Artes