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OPERA IN THE CONTEXT OF RELIGIOUS AND SOCIAL MYTHS: SERGEY DURYLIN ON RICHARD WAGNER AND NIKOLAY RIMSKY-KORSAKOV
Abstract
The article analyzes the views of Russian literary and theatrical critic, theologian and priest Sergei Durylin on opera theater in connection with the ideas of new mythogenesis and mystery (religious and synthetic art), which were popular in the early 20th century, especially in Russia. The method of presentation corresponds to the method of research and offers a synthesis of methods of art criticism, philosophy of art, philosophy of myth and religion, as well as history of culture, all of which are presented in the works of Wagner and Durylin, Friedrich Nietzsche, Pavel Florensky, Vyacheslav Ivanov and Mikhail Bakhtin. The Ancient German and Christian myths used by Wagner are connected by Durylin with the myths contemporary to Wagner – with the composer's own Romantic myth, as well as the social and artistic myth of Bayreuth as the embodiment of the neo-pagan German idea of empire in the consciousness of 20th century Germans. Durylin sees the antithesis between the German and Russian cultures in the contrast of images of the Holy Grail (in Wagner's opera “Parsifal”) and Kitezh (in Rimsky-Korsakov's “The Legend of the Invisible City of Kitezh”). The aforementioned operas interest Durylin as material for contemplation on the religious art of the future.
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