V.S. Vysotsky. Phenomenon of syntheticism: the origins of Bertolt Brecht’s genesis, originality, and innovation

INTRODUCTION. B. Brecht’s theory of epic theater to some extent influenced the formation and development of Vladimir Vysotsky’s poetic system. The aim of the study is to identify and analyze the typological similarities in the fundamental details of the German author's theoretical findings, while also acknowledging the traditional Russian originality and, most importantly, the uniqueness of Vysotsky as a bright creative phenomenon of the mid-20th century.

MATERIALS AND METHODS. The research material consists of the key tenets of epic theater, which were formed in the first half of the 20th century, and an analysis of the poetics of Vysotsky’s early works, both from the perspective of Brechtian principles and beyond. The methodological basis of the study was formed by a combination of the comparative-historical, cultural-historical, and receptive approaches.

RESULTS AND DISCUSSION. The complex of the main theoretical innovations that formed B. Brecht’s epic theater's coherent scientific concept has been systematized. The relationship between tragic historical events occurring in Germany with the rise of the Nazis to power and Brecht’s esthetic system has been analyzed and noted, and some influence of K. Marx’s socioeconomic theory on the formation of the German playwright’s innovations has been recorded. Based on the esthetics of Bertolt Brecht in the first half of the 20th century, the theoretical approaches taken in Soviet (Russian) theater art of the 1960s are understood. At the same time, other social reasons were noted compared to Brecht’s, which prompted Soviet interpreters, decades later, to turn to the theory of epic theater. Incidentally, it should be noted that Brecht’s works are still extremely relevant in scientific study. The studied positions that influenced the formation of the nature of the poetic phenomenon of V. Vysotsky – an actor at the Moscow Drama and Comedy Theater on Taganka under the direction of Y.P. Lyubimov, as well as the development of his individual, original poetics based on his early works, have been identified. The genesis and unique innovations of Vysotsky are formulated, independent of Brecht’s esthetics.

CONCLUSION. These identified features allow us to note the significant, but not fundamental, influence of the German playwright B. Brecht on the creative poetic phenomenon of V. Vysotsky, as well as on the formation of the esthetics of the Moscow Taganka Theater of Drama and Comedy.

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