Simbolismul rus şi cultura
Russian Symbolism and Culture

Summary/Abstract: Symbolism, an artistic and thinking movement manifested as a syncretic phenomenon which imposes an interdisciplinary approach encompasses many areas. Moreover Russian symbolism is the most ample and valuable after the French one, being an extremely well individualized cultural movement with mystical religious influences. The present paper highlights the elements of cultural theory and methodology in approaching the cultural phenomenon. The main concept of this research is that of symbol and symbolist discourse which became object and tool of investigation. Seen as a sign of reality, the symbol is taken by the arts from the phase of pre-image and transformed in an image specific for each art: poetic image, visual image, musical image. The relationship of symbolism and music means the symbolists overtook the melodic principles specific to music as well as the syncretic principle. Music has helped the intimate fusion between the poetic art and sound, the fragmentation of tonality, the leitmotif of the infinite melody. Impressionism in music has influenced the suggestion technique in literary creations and in visual arts. As opposed to the French symbolists however, the Russians composers and painters were influenced by the Russian folk music. Symbolist painting represents a universe of metaphors and symbols which, refusing to represent reality, replaces it with ideas and visions. MihailVrubel and Nikolai Roerich create paintings based on musical notes full of fluidity and transparence. The symbolism created the idea of consonances and synesthesia, offered the possibility to transcribe one form of art using the terms of another thus creating a visual literature, literary or musical painting,etc. areas through which Russian art and symbolist literature converge with universal art. The new dramatic art requires new directing which emphasizes not only the static principles of symbolism, suggestion and musicality but also theatrical devices derived from Commedia dell’Arte, from fair performances, fireworks, acrobatics and joggling, Japanese and Chinese dramatic presentations, the Elizabethan Theatre, Moliere, Spanish classic theatre, etc. The symbolic representation, the line, the implied image, the play between light and darkness, the suggestion are just a few of the ways in which scenography has taken over dramatic art as an innovative and dynamic element. In conclusion we are facing a major artistic and cultural phenomenon in world culture, phenomenon which is worthy of a closer scrutiny, which is what the paper The Russian Symbolism and Culture is undertaking.

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