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Article

Особенности декламационной манеры Андрея Белого и исследования звучащей поэтической речи С. Бернштейна

Вопросы литературы. 2018. № 4. С. 122-172.
Торшилов Д. О., Глухова Е. В.

The paper offers a detailed analysis of Andrey Bely’s
(melo)declamatory style in the context of his poetic and theoretical
experimentations. Bely’s contemporaries described his recitals as adhering
to the typically ‘decadent’ manner of declamation: with the poem’s
meter emphasized by monotonous melodization. On examining the
written mentions of his recitals, one is moved to agree with Bernstein’s
statement that the poet had undergone a change in his declamatory
manner, confirmed by Bely himself. And indeed, a first-ever digital analysis
of the audio recordings made by Bernstein in chronological order
sheds light on the inner causes of Bely’s poetic experimentation (‘melodism’)
in his later years, and, together with the printed version of the
poetry, points to the connection between the poet’s declamatory style
and the general direction in which he went with his work as a poet and
a theorist. Bely’s later poetry called for two distinctive manners of recital:
one, relatively stable in terms of pauses and melodization, for traditional
meters, and the other, more elaborate, for his ‘melodic’ verses.
The latter is more in affinity with the poet’s manner of reciting his
rhythmical prose. The two declamatory styles originate in the voiceless
recital during composition, as described by Bely to Bernstein.