Модернизм как архаизм. Национализм и поиски модернистской эстетики в России - [130]

to Stravinsky’s early ballets, as responsible for attributing a range of meanings to archaistic experimentations in music – from declaring “Russian archaism” as a new, authentically “national” artistic style (Yakov Tugendhold) to exposing Stravinsky’s evolution from “fairytale through lubok to the primitive” as a story of a “dramatic rupture with the traditions of Russian music” (Andrei Rimsky-Korsakov). Within this range, the discursive equation of the experimental with the “barbarian,” and of the latter with the “(pseudo)national,” allowed critics to qualify pieces like Prokofiev’s Scythian Suite as manifestations of the newest brand of “musical nationalism,” even in the absence of inherent folkloric substrate. At the close of the chapter, using music as example, I touch upon the issue of the interaction between expert knowledge of the indigenous Russian traditions, projects of their revival, and forms of their actualization in experimental art.