Artistic trinity: literature - cinema - music (the film "Earth" by O. Dovzhenko)

The musical accompaniment of the dance component is enhanced by a cinematic solution that expresses the narratives of the film "Earth". The most revealing is the "manipulations" with the camera: static shooting is used first (the video camera is fixed in a stationary position), then montage with a change of axes is effectively used - the shooting point changes, the shooting angle changes as well, then the filmmakers use the technique of parallel montage with changes in lighting: Vasyl's returning home from a date at night accompanied by picturesque pictures of a moonlit night and frames of married couples resting. This semantic trinity of frames (three meaningful parallels) conveys the idea of a happy future family life of the main character, which looks realistic. Thus, parallel montage subtextually forms a picture of Vasyl's future and at the same time (taking into account subsequent events) increases the level of drama of the work. The minor scale of the music, the dreaminess of the hero, and the slow rhythm of the dance significantly complement the dynamics of the image of the young man, who was already presented in the film in the family circle, in the field, with his beloved Natalka.

The eloquent musical version was offered by the ethnic-chaos band to enhance the significance of one of the key micro-episodes of the film - the father's silence after the murder of his son Vasyl. As you know, the main means of psychologizing heroes in literary and cinematic works are behaviour, facial expressions, movements, and gestures of characters. In the episode chosen for analysis, silence is presented, which is well thought-out - from the musical side - accompanied by the rhythmic quiet sounds of such a musical instrument as a ratchet, resembling the sounds of a clock. The offered by "DakhaBrakha" musical version of the episode of the father's experience of losing his son enhances, adds sense, symbolizes the father's silence, and allows you to interpret the character's long constant posture in the frame (1 minute, 18 seconds: 56.45-58.06) as a frame-photo. This means that the talented director O. Dovzhenko, who always carefully weighed the smallest detail in the film and cherished every second and millimetre of film, tried to say important things in this way, to emphasize the essential, which he could not say openly. In this regard, we agree with T. Pakhareva's valid opinion, who, analyzing Verkor's text, concludes that silence "is considered as a semiotic complex, in relation to which the researcher task is its interpretation and identification of its meaning-making functions" [Пахарєва, 2022, p. 94]. The father's silence unfolded in time forms the subtext not only of this micro-scene but of the whole work, which includes really wide meaning-making functions: the father lost his son, his descendant, the successor of the family, to whom he had already managed to transfer part of his knowledge and skills; he lost the breadwinner, the bearer of culture, family traditions.

The father seems to be in a black square, then emerges from the darkness, then drowns, and disappears in it - this is how the continuity of the tragedy, the dramatic event of the father's heart is depicted. In the film story, this episode is conveyed by the following lines: "Opanas was sitting for a long time near the coffin of his slain son, not noticing anyone, not seeing tears, not hearing plaintive crying. His whole simple world was darkened and drowned in sorrow, everything in the world, even time, stopped. Only on the second day he woke up from a severe stupor and slowly stood up as if he had decided on something" [Довженко, 1964, v. 2, p. 64].

The movie and literary critics are unanimous in the opinion that O. Dovzhenko in the film recorded the mystical connection of the Ukrainian people with the earth in a symbolic way, which is realized in numerous eloquent details, images, and micro-episodes. This episode of the character's long silence is no exception - his "numbness" from indescribable grief and unbearable pain.

We do not agree with T. Kotova's opinion that "Earth" is a performance of masks; people-characters are little felt, and nature is felt more [Котова, 2013]. Nature is truly depicted colourfully, on a large scale, as evidenced, for example, by skilfully edited frames (with apples, sky, and sunflowers filling two-thirds of the frame) and, accordingly, voiced by rich music. But O. Dovzhenko could not show the mental unity of the Ukrainians with the land openly, on a large scale, in full, because the Soviet censorship of that time would not approve of Ukrainian antheism. The writer and director encrypted the whole conceptual depth of the ancient connection of the Ukrainian hero with the land, symbolized, in particular, in the silence of the father who lost his son. In the analysed scene, O. Dovzhenko "pauses" external events, and the frame is filled with the emotional experiences of the father's heart. Formed under the influence of many years of work on earth, the father's temper, at first glance, helps him to be balanced. However, this is a pretended calm. The silence offered by "DakhaBrakha" (as an accompaniment to the character's despair) shreds his heart, and his body and soul become numb with grief. However, to decipher the state in which the father resides, it is necessary to approach this cinematic material and its musical accompaniment with a corpus of interdisciplinary knowledge in history, cultural studies, Ukrainian studies, psychology, etc.: the work deals with the death of a young man who loved the earth, knew how to work honestly, faithfully, zealously, mentally truthfully, sincerely. Thus, in the film about collectivization, O. Dovzhenko encrypted the national identity in Ukrainian symbols, micro-episodes, eloquent images, and details, and the ethno-chaos group "DakhaBrakha" emphasized their significance with the help of musical performance. The calmness of the character and the silence offered by the musicians, recorded by the muffled and distant intime sounds of ratchet, reflects the deep meditation of the father, who must decide how to live on when there is a real threat to procreation.

Next, A. Dovzhenko removes the figure of the father from the frame photo with the help of a head movement and a cry of the character. This frame is accompanied by the music of the corresponding content - loud sounds that emphasize the straining psychological state of Opanas. The silence, in which the father is, with a heavy burden falls on his shoulders - grief seems to spread over the body, makes the character motionless; therefore, the unchanging posture of the character at the table (bowed, leaning on his hands) seems to slowly distribute energy throughout the body, so as not to fall, not to faint from grief, to have the strength to still work on earth without a son. And quiet music contributes to the "distribution" of his inner energy. We would like to add that the orphanhood of the father is emphasized by the table - a symbolic eloquent detail that performs an additional visual function: the table - the house throne, the palm of God, the family gathers here during all important events, and the place of honour of the father - the head of the family - is always in the corner. In a micro episode from O. Dovzhenko's "Earth", his father leaned on the edge of the table, lonely and heartbroken.

Conclusions

The musical accompaniment of the ethnic-chaos band "DakhaBrakha" of the restored film “Earth" by O. Dovzhenko concretizes the compositional, narrative, mood-informative, and aesthetic aspects of the film, opens up new possibilities of the descriptive range, emphasizes the effectiveness of editing moves, film plans, key details, spectacular events of the film. The musical accompaniment of the film "Earth" (rhythm, dynamics, tonality, etc.) is motivated by the plot and is organically connected with the content of important episodes (the death of grandfather Semen, the arrival of a tractor in the village, the last minutes of Vasyl's life, the difficult emotional state of his father), reproduced with the help of various types of installation (metric, parallel, by the size of the plans, with orientation in space, by the movement of the object, by the use of light). Thanks to the specific presentation of sound material, authentic music, and singing, with an expressive improvisational dominant, the text of "Earth" is modernized. The band offered an original sound solution to the actual theme of the earth, accentuating the antiquity of the spiritual ties of the Ukrainian with the earth, revealing new layers of symbolic images, and multidimensional problems. The music from "DakhaBrakha" represents a philosophical discourse about the national identity of Ukrainians, hidden in the literary text and film, due to the totalitarian regime at the time of their creation. The order, tempo of the musical performance as well as the visual content, that was thought out by the authors of the film, form the musical leading motif of the movie and deepen the understanding of the subtext, symbolic accents of the literary work, emphasize the features of the artistic presentation of the land problem with the help of expressive images of sunflowers, gardens, steppes, fields, oxen, etc. There are a music tempo-rhythmic and tonal-emotional support of frames in the film, that also performs a peculiar function of sound illustration in the corresponding episodes of the literary text, gives the images of main characters and minor characters dynamics and expression. The musical drama of the film "Earth", audio visualization of the main and secondary characters, repetition, the collision of frames with different plans, landscapes, and the specifics of their location in the frames emphasize the problematic of the literary work, contribute to the multifaceted images of heroes in the literary work and in the film, enhance the understanding of the conflicts (intra-frame, interpersonal, worldview, etc.), testify to the ideological-thematic, compositional, pictorial, emotional-semantic unity of musical, cinematographic and literary texts. Comparative analysis of O. Dovzhenko's script, diaries, articles, and facts from the creative laboratory of the writer and screenwriter in the future will contribute to the specification of the productive interaction of film text and musical accompaniment.

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