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Music and Time

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Lars von Trier and Richard Wagner: Consecutive «Emancipation of a Dissonance»
M. Chershintseva

Article is devoted to creativity of two artists, who were living in different times and using different methods, and their «inverse dialogue», existing only in the culture space, taking away us – listeners, the audience – to imagined «labyrinths», where the heroes of Lars von Trier movies and Richard Wagner opera dramas are paradoxical and at the same time symbolically crossed. The art inversion methodology allows us to reveal figurative parallels and semantic crossings which, being «removed to a scene» in the XIXth century, are reflected in XXth, partly rethought, entered in other subject and cultural context. Binding thread in this «dialogue» is the «hero», wandering in a labyrinth (scene and symbolical), created by composer and much later – by the film director. The purpose of this art game is the cultural destruction, showing in creativity of R. Wagner like «the emancipation of the dissonance», and in Lars von Trier’s film works – epatage, classical for the post-modernism mixing images of idealistic «hero» and «antihero».

Keywords: Lars von Trier, Richard Wagner, labyrinths of culture, Tristan chord, «Tannhäuser», «Tristan und Isolde», «Epidemic», «Melancholia».

Contacts: E-mail: mahamah@mail.ru

Pp. 32-41.

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