RAVEL’S "BOLERO" IN THE SPACE OF VISUALITY (ON THE EXAMPLE OF ANIMATION AND FINE ART)
Abstract
The article presents the experience of understanding the animation film BOLERO (1992) directed by Ivan Maximov, the idea, concept and imagery of which are due to the characteristics of the space/time/movement of the basic musical text, as well as the work Light and Darkness (1978) by the painter Vladimir Yankylevsky. The correlation analysis of the designated art samples contributes to a deeper understanding of the author’s intention of each of the creators, indirectly highlighting new semantic aspects of the immortal music work composed by Maurice Ravel. Those aspects born at the intersection of classical musical traditions and modern media technologies. This refers to the symbolic reading of Ravel’s Bolero, which absorbs the ambivalence of such categories as life and death, light and darkness, the beginning and the end, presented through a visual paradigm on the example of animation and fine art.
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References
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