By Y. Meerzon
This e-book examines the lifestyles and paintings of these modern artists who through strength or via selection locate themselves on different shorelines. It argues that the exilic problem allows the émigré artist to (re)establish new creative units, new legislation and a brand new language of verbal exchange in either his daily life and his creative paintings.
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Additional info for Performing Exile, Performing Self: Drama, Theatre, Film
Night everywhere, night in all things . . ( Joseph Brodsky: Selected Poems, 39) In exile, this quest would be augmented significantly both in Brodsky’s poetry written in Russian in America and in his auto-translations. The following excerpt exemplifies the themes, the style, and the artistic preoccupations that marked Brodsky’s poetry written in exile. The program poem of exile “May 24, 1980” (titled in English by the day of his fortieth birthday) appeared in Brodsky’s American book Uraniia: novaia kniga stikhov (1985), published in Russian.
This variety produces a generic fusion of previously established theatrical utterances, which reflects Deleuze and Guattari’s rhizomatic model and sanctions the appearance of situational art, produced in response to certain social, economic, or political situations in which an artist might find him/herself; and narcissistic art (to paraphrase Linda Hutcheon’s term), which features as its subject matter the artist him/herself and thus uses a range of self-reflective (auto)biographic and (self-)estrangement techniques.
I had never been in the presence of a reader who was so manifestly all poet at the moment of reading. And the secret of that utterness, I was to learn, resided in the unstinted gift of himself to his vocation, day by day, through the usual minutes of a life. (“Brodsky’s Nobel”, 1987) Thus, in Brodsky’s recitation Heaney observed a fusion of the graphic score of a poem (its semiotic rendering in meter, rhyme, syntax, and word choices) with its pre-linguistic idealized rhythmic pattern. Brodsky’s recitation in Russian of his poetry written in Russian produced a zero degree of separation between the ideal sound-image of a poem, its linguistic expression, and the author’s vocal performance.