Проблема зближення та взаємодії в німецькому експресіонізмі окремих мистецтв розглядається як концептуальна складова його програми. Особливу увагу звернено на роль музики в цьому процесі як мистецтва, яке втілює ідею вираження. На прикладі вірша «Концерт» А. Ліхтенштайна і гротеску «Музика і мороз» Мінони проаналізовано інтермедіальні зв’язки літературного слова з музикою.
The article analyzes interaction of arts as a principal strategy of German expressionism. Expressionist concept of “total work of art” is presented with reference to the phenomenon of dual exceptionality. It is noted that such works of art include expressionist almanacs among others (“The Storm”, “The Blue Rider”), in which works of different forms of art were united by the idea ofthe strongest expressive effect and music was considered the direct expression of that idea. Related theoretical postulates are substantiated on the basis of famous works of W. Kandinsky, A. Schoenberg and L. Sabaneev. With the help of creative combination of light, paint, words, music and body language expressionism tried to intensify artistic expression and artistic impact. According to W. Kandinsky support “of a certain sound of art through the identical sound of another art” allowed for a particu&larly potent impact. Using the specific features of expressionist music, it is explained why literature took a great interest in it by borrowing musical principles of simultaneity, abstractness, disharmony and expressiveness. It is claimed that liter&ature becomes expressionist like music in its attempt to reach expression. The articles offers analysis of the poem “Concert” by expressionist poet A. Lichtenstein and the grotesque “Music and Frost” by German writer and philosopher Mynona.
