Two major poets of the Russian Neo-Avant-Garde—Gennady Aygi and Elizaveta Mnatsakanova—created textual works that transgressed the limits of language and the borders between the arts. Each pursued their own method of the visualization and musicalization of verbal matter, yet both share a particular musical sensibility, which guarantees the integrity of the linguistic structure of their verse, despite the fragmentation and logical incoherence of its elements. The atonal (serial) musical tradition has a special significance for these experimental poetics of minimalism. Mnatsakanova, herself a musicologist, who was friends with Dmitri Shostakovich, not only used the techniques of contemporary music composition in her visual and sound poetry, but also collaborated with electronic musicians in her recorded poetry performances. Aygi experimented with language, not only crossing the boundaries between music and poetry, but also between sound and silence. For him, music was a way of expressing pre-verbal subjectivity and reproducing signs of meaning that are hidden from ordinary perception. In his poems, Aygi brought together Chuvash folk music with experimental techniques of minimalism, correlating his own work with such Soviet unofficial composers as Andrey Volkonsky and Sofia Gubaidulina. This paper will address the issues of transmutation between verbal, visual, and sound art in poetic minimalism of the Soviet-era underground.

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“沉默的空间”和“文字的秘密音乐”：根纳季·艾吉和伊丽莎白·姆纳萨卡诺娃诗歌中的言语音乐极简主义

俄罗斯新前卫派的两位主要诗人——根纳季·艾吉（Gennady Aygi）和伊丽莎白·姆纳察卡诺娃（Elizaveta Mnatsakanova）——创作了超越语言限制和艺术边界的文本作品。每个人都追求自己的语言物质的可视化和音乐化方法，但都具有独特的音乐敏感性，这保证了其诗歌语言结构的完整性，尽管其元素支离破碎且逻辑不连贯。无调性（连续）音乐传统对于这些极简主义的实验诗学具有特殊的意义。姆纳察卡诺娃本身就是一位音乐学家，也是德米特里·肖斯塔科维奇的朋友，她不仅在她的视觉和声音诗歌中运用了当代音乐创作的技巧，而且还在她录制的诗歌表演中与电子音乐家合作。艾吉对语言进行了实验，不仅跨越了音乐和诗歌之间的界限，还跨越了声音和沉默之间的界限。对他来说，音乐是表达前语言主观性和再现隐藏在普通感知中的意义符号的一种方式。在他的诗歌中，艾吉将楚瓦什民间音乐与极简主义的实验技巧结合在一起，将他自己的作品与安德烈·沃尔孔斯基和索菲亚·古拜杜丽娜等苏联非官方作曲家联系起来。本文将探讨苏联时代地下诗意极简主义中言语、视觉和声音艺术之间的嬗变问题。