Спектакли свободы. Перформативные практики позднесоветского андеграунда

Mark Lipovetsky

Аннотация


В статье рассматриваются истоки и история перформатизма в российской культуре, начиная с широкого понимания феномена как театрализации повседневной жизни и исторических сдвигов, выражающихся в разрыве между стилем жизни, эстетическими пристрастиями и культурными нормами большинства и спектаклями инакости. В центре исследования находится анализ форм театрализованного жизнетворчества в 1960–80-х годах. Опираясь на работы Н. Евреинова, разработавшего впервые в русской культуре принципы театрализации собственной жизни — трансгрессивность, эксцесс и эстетические (или просто непрагматические) мотивировки, — автор исследует перформативный поворот в советском искусстве. Проведено различие между перформансами, хеппенингами и перформативными практиками. В перформансе происходит переосмысление отношений ритуала (сакрального) и искусства (эстетического) благодаря моделированию лиминальной ситуации как процесса разрушения устойчивых бинарных оппозиций. Для хеппенингов характерно демонстративное переживание свободы — «спектакль свободы» порождает эффект шокирующей трансгрессии. Особое значение придается групповым и индивидуальным перформативным практикам. Культивируемый в среде позднесоветских нонконформистов перфоромативный стиль театрализованной отверженности воплощал определенный рисунок инакости («Митьки»). Индивидуальные перформативные проекты исследованы на примере Д. А. Пригова и Вен. Ерофеева. Объектом индивидуальных перформативных практик становилась дистанция, отделяющая автора от его имиджа. Отмечается, что особое значение для современников имела характеристика жизнетворческих проектов как воплощения «свободы со всеми опасностями». Делается вывод о парадоксальности этой свободы, которая состоит не в самовыражении, как в романтизме или модернизме, а в перформансе себя как другого, который в силу иллокутивной силы перформанса вытесняет «я» образом «другого». Трансгрессивность и избыточность этих перформансов предполагают радикальный отказ от какой бы то ни было устойчивой идентичности, ускользание от всякой определяющей рамки, выявление относительности каждой из них.

Ключевые слова


театр Николая Евреинова, театрализация жизни, перформатизм, перформанс, хеппенинг, трансгрессия, эксцесс, жизнетворческий проект, советский андеграунд

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Литература


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DOI: https://doi.org/10.15826/koinon.2021.02.2.018

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