Reception of the musical beginning of Federico Garcia Lorca's drama "The Blood Wedding" in Russian translations

The subject of the study is the perception of the musical beginning of Federico Garcia Lorca's play "The Bloody Wedding" (1933) in Russian translations. The object of the study was the text of the original play in Spanish and two of its translations into Russian (A.V. Fevralsky, F. V. Kelin and N. R. Malinovskaya and A.M. Geleskula). The article examines the features of the poetics of the play, its musicality, and the features of flamenco style. The points of view of researchers regarding the musicality of an artistic work and the connection of Garcia Lorca's work with folk and classical music are given. Special attention is paid to the perception of the musical principle based on the flamenco style, its significance in the play and its re-creation in translation into Russian.  During the research, the method of structural and motivic analysis was used to identify the features of the play's structure and its main motives. The use of the comparative method made it possible to identify the stylistic features of cante hondo, flamenco, and Spanish folk songs in the original and translations. The main conclusions of the study are to identify the peculiarities of perception and reconstruction of the rhythmic organization of the text in the Russian translations by A. V. Fevralsky, F. V. Kelin (1939), N. R. Malinovskaya, A.M. Geleskula (2000). It is noted that all the structural components of the drama are connected by a general mood of anxiety and increasing tension, similar to that carried by the folk art of flamenco. Despite the transformations, the change of rhythm and tonality, the translators certainly perceived and recreated the musical beginning of the play and its folklore basis, thanks to which the Russian "Bloody Wedding" retains its expressiveness and vivid Spanish flavor. The novelty of the research lies in the fact that for the first time an attempt was made to conduct a comparative analysis of the original and translations of Garcia Lorca's play "The Bloody Wedding" in order to identify the peculiarities of the perception of the musical principle in Russian translations in connection with the problem of reception of the poetics of Lorca's dramaturgy and the realization of the author's idea.

musicality, Garcia Lorca, synthesis of arts, theatre, Blood Wedding, flamenco, cante jondo, rhythm, sigiriya, translation perception