ROBERT SCHUMANN’S “CARNAVAL” AND TENNESSEE WILLIAMS’S “CAMINO REAL”


This article has the following theme as a subject of the research: the parallels revealed at the ideal, semantic and artistic-contents levels in the piano cycle “Carnaval” by Robert Schumann and in the theatrical play saturated by romantic tendencies, “Camino Real” by Tennessee Williams. These two opuses have common features:
• Innovative nature: in “Carnaval,” there is present an unprecedented connection with the literature, and in the Williams’s play, with the music.
• “Carnaval” points to the radical changes in the musical thinking, and “Camino Real” is the beginning of a new stage of the American dramaturgy;
• The opuses have reflected the fragile psychics of the authors, inclined towards fragmentation;
• The virtual reality is constructed in an allegoric form, by means of symbols;
• There is portrayed not only the carnival as a real ritual but also ‘carnivality,’ too, as a method of thinking;
• The fight not against the past, but against the outdated ideas, as a token of the renewal of the society;
• In “Carnaval” the literary narrative determines the form, and in Williams’s play, the music plays a dramaturgic role;
• “Carnaval” is a suite with a preamble and 21 pieces, and “Camino Real” is a one-act play with a prologue and 16 blocks;
• Reality is intertwined with phantasy;
• Outer looks or the psychology of the characters is represented, in somewhat exaggerated way, with the strokes characteristic for them.