DOI 10.52172/2587-6945_2021_18_4_116
Abstract
The article presents the history of the formation of modern video poetry. The information on the origin of the domestic video poetry fixed in various reference sources is corrected. On the one hand, it shows that one of the first comprehensive experiments in the synthesis of the verbal word, video presentation and music was organized by the Perm literary and artistic underground movement in the early 1980s. On the other hand, the article shows that the video poetry originated in the distant past, being related to the visual poetry traditions. The influence on the development of video poetry of landmark trends of the era was revealed and demonstrated. The organic link between the art of cinema which was actively developed at the beginning of the 20th century and poetry is illustrated in the examples of "Stenka Razin" and "Stenka Razin and the Princess", or "Ponizovaya Volnitsa". Such trend of the 20th century, as visualization, is considered. Based on the analysis of contemporary art culture the conclusion is made that the origin of video poetry was the convergence of two artistic systems – cinema and poetry. The rapid development of the latest technical means of mass communication and reorientation of art from verbal to visual are mentioned as the reasons for the actualization of the poetic word representation in the format of video poetry. The paper explains the popularity of video poetry in the early 21st century by a number of factors, one of which is a systematic organization of various festivals and contests of poetic video clips, starting from 2002. The article pays attention to the fact that if at the turn of the 19th-20th centuries humanities and literature (including visual poetry) were actively developing and conceptualizing the issues of tragic existence, then at the turn of the 20th-21st centuries the issues of happiness are actively being discussed. However, the analysis of video poetry, presented at one of the Russian video festivals - "Videostikhiya", showed that the quantitative index of video texts, devoted to the issues of happiness, is quite low; the world trend of keen discussion on happiness has not yet seized the world of video poetry. And while video poetry demonstrates boldness and bright experiments in the representation of other phenomena and issues of being, in the representation of happiness traditional options of representation are most often used. The text "Sea. Fisherman. Fish" in which both the question of happiness is brought in the forefront and the forms of its representation are quite unusual is an exception.
Keywords
Video poetry, visual poetry, visualization, Vidostichya festival, happiness.