Антропологический контекст
(«этнокультурная идентичность»):
- концепции «инстинктивной театральности», априорно присущей человеческой природе (Евреинов);
- «проекция-возвращение» культурных универсалий в универсалии природы («прафеномен», «прообраз», «архетип», «протоинтонация» как способы выражения смысла универсума);
- «этническая ментальность» (этнокультурная идентичность и этнохудожественное сознание) – «этнотеатральность» и «над-личностное» сознание («коллективное бессознательное» – «коллективное сознание» – «национальное самосознание» – «соборность»).
3. Духовно-религиозный контекст (религиозная антропология):
- «театральность» и общий «религиозный фонд» (Карсавин Л.П.) конкретно-исторической эпохи;
- выявление сакрального содержания синкретических форм игровых «действований» в процессе театральных формообразований;
- сакрализация пространственно-временного континуума (принцип симультантности);
- «духовная практика» Мистерий (архаических и средневековых) и исполнительская техника актёра («мимесис» Аристотеля и «расы» «Натьяшастры»);
- «личностные» игровые концепции Запада («принцип индивидуации»), «безличностные» («недеяние») – Востока, «соборные» («индивидуализированные») – России.
4. Метафизические аспекты театральности и вопрос о происхождении театра («культ – игра – театральность – театр»):
- «дионисийское» и «аполлоническое» начала (Ф. Ницше, Вяч. Иванов, А. Белый, В. Шмаков) в художественно-эстетической традиции европейской культуры;
- проблема использования психотехники восточной (архаической) традиции в западных театральных системах (А. Арто, Е. Гротовский, Э. Барба, П. Брук).
Евроазийская концепция театральности, как поиск общих оснований.
Универсальная интенциональная динамика «театральность – это жизнь минус театр».
SUMMARY
The substantial phenomenology of theatricality: synergetic paradigm
Theatricality in its semantic value, as a heuristic category, is «distracted», and abstracts from the subject of the signs of the theater as a reporter and manufacturer of the action. As a heuristic category as an «exploring construct» defines the vector of the synthetic thinking from visual and concrete (visible or spectacular) to the intelligible (invisible, ideal-eidetic), i.e. metatheoretic and metaphysical. Of course, the theatricality as a mental construct corresponds to the "elementary" realities of the theater, but it is not identified with them, but correlates their semantic connections at the fundamental level of the primary entities. The system properties are not derived from "atomic" properties of the system elements, so the internal connections with specific "system properties" act in the process of change of organizational structures of specific historical forms of theatre.
We propose a general outline of cognitive-conceptual architectonics of the category "theatricality" in its substantial unique semantics of the unique universality (the concept of monogenesis). Substantive distraction from the substantive specifics of "theatre" as a formative referent and its semiotic work allows to carry out interdisciplinary relations on the level of universal interaction of quality basis of art and scientific conception of the world and a holistic "picture of man". The paradigm of self-organization provides the opportunity to consider qualitative attributes of theatricality not only at the level of the speculative-speculative formalization of ideal entities. In the context of scientific modeling of polarization theatricality acquires pragmatics of probabilistic synergy of field and psychosomatic interactions: the theatrical space as "openness" to the world (the participatory anthropic principle).
Substantial-polarization approach. With all the methodological and positional twists and turns of historical-philosophical interpretations of the concept of "substance", its principle of doubling "reality" and what lies at the heart of this "reality" remains unchanged: constant "changeability" in the background or the backdrop scenery to the constancy of mechanistic and predefined space, or, conversely, "restless movement", "fluidity", "energetism" or "activity" invading the sluggishness and immobility of matter energy transformations and conversions – stability and order or chaotic dynamic disequilibrium. All that poets, and philosophers, and scientists define as a «human» quality of internal drama and/or tragedy (in mathematical slang – disaster and/or bifurcation).
Substantially, theatricality must be identical to theatricality, not to her referent media, the substantiality of which, in their turn, is often a "random" mode of morphogenesis (for example, agonistic substantiality of the game may be a way or a form of replication or doubling in the space of the theater, but first it should become so). Independent substantiality of theatricality is connected with the question of qualitative identity, which has two simultaneous properties: 1) self-organization (the theory of self-organization of open systems) and 2) of self-emergence that contains all causes within itself (sui generis).
The paradigm of self-organization. These properties form the system integrity of the interactions of the structures of some common environment (mythopoetic, social, cultural) and the structures of internal localization, self-production of which is associated with the properties of spontaneous and "random" (stochastic) occurrence and isolation of the living environment. The process of self-organization inadvertently gives way to the purposeful development with the subsequent inpatient institutionalization of social formations, which leads to their further degeneration and disintegration of local structures.
The space of theatricality in the universe of the Theater of the World can be defined as substantive openness, randomness, non-teleological causality, i.e. causality which is not due to external goal setting of "why", free from purpose and predetermination, i.e., non-specialized professionally or technologically, institutionally biased and non-replicable in program and repertoire. All these signs of theatricality become organized, i.e. structured in the space of theatricality.
An axiomatic paradox or a fundamental law, but in the space of theatricality the cosmic determinism and irreversibility of destiny are hypertrophied and ominously dramatized. They serve as a symbolic background (Gestalt) of frightening "imitations" of ritual initiations, unfolding in a strict sequence scenario ("separation – transition – restoration»), but in this unforgiving strategy some hidden traps of chance, freedom and incompleteness are set. (Shakespeare tragedies are openly built on ridiculous coincidences.)
Stochastics (randomness and probability) and unpredictability of bifurcations as a point close to the critical state, determine the moments of various quality issues (sudden and accidental), alterations and/or metamorphoses ("explosions" by Y. M. Lotman). Critical instability leads the system into a state of chaos and/or generates creative possibilities of transition to a new higher level of order. And all this is characterized as chaotic dynamics in the phase space of possible states that in the context of the synergetic paradigm has received such a metaphorical and theatrical definition as "the Joker area». The algorithm of the evolving system: "order – chaos – new order" or "channel – Joker – new mainstream". «The Joker area» is a space of states, "where the situation is rapidly changing, key decisions are made and to the forefront come the game, probability and subjective factors. Here expectations, experience of experts, the cultural climate, the meanings and values of decision-makers, can be decisive".
In our opinion, the space drama has an ambivalent quality of the "region of chaos" (Joker area) and buffer zone, which allows to survive the change-disaster of regulated, ritualized order and not to fall into the abyss of chaos. The changes of traditional ritualized structures in the transitional era when new systems with new structure of the internal connections are in a state of self-organization, are particularly characterized by the substantial manifestation of theatricality. The quality of the inter-dimensional and time transitions in the era of tectonic shifts in social formations: "the axial displacement" (K. Jaspers) V century BC and the classical theater of Ancient Greece; the crisis of "faith" and "reason" of the XII-XIII centuries – mystery-theatre of the middle ages; "autumn of the middle ages" (Y. Heyzing) and self-wandering of the man of the XV century – the total theatricality of everything and the crisis of the Renaissance in Shakespeare's "all the world's a stage"; "changing the order with the coolness" of the XVII century (A. Panchenko) – the emergence of the theatre in Russia; the "Silver age" of the 1910s – «cathedral dionisiyness» (V. Ivanov) and "theatrecratia» (N. Evreinov); civil war in Russia and the period of "war communism" – «the whole country’s playing» (V. Shklovsky).
In the era of explosions-displacements-transitions all spheres of human existence are «mixed» in the gravity to the original syncretism, "synthetic shuffling" of art, science and religion, at the level of substantionality – science, religion and humanity. And the coincidence of the values in this universal semiosis cannot only be attributed to "the syncretism of sense perception", but only the unity of the qualitative basis of these different "items" and "areas".
Substantial signs of theatricality. Pure theatricality, at the very essence of the nominal substantionally, should "expire" from exceptional versatility beyond any forms and intervening categories-definitions, topological as well as and chronological. Theatricality may not be spatial-geographical (East-West) because its ontological grounds, its topos of non-expressibility is the Eternity (and/or Infinity). Theatricality may not be chronologically historical, since its existence, its Chronos of non-expressibility stays in a «temporal syncretise» of "here and now" (the present). That is, theatricality is metaphysical in a certain common over-fundamental characteristic, not categorical, and therefore unexpressible. Because theatricality is implicit in the translation of the whole, which is «standing» behind the expression of specific forms of theatricality (memeplexes).
Thus, the category of theatricality, which has the semantic dimensions of substantial quality with properties of self-organization – spontaneous generation and self-support (autopoiesis), characterizes some indefinable (implicit) characteristics, which are able to recreate their system integrity, which is not dependent on the causal determination of the external environment of its existence and its constituent elements. Functional and substrate elements of the substantial whole are not given originally and primarily, which does not mean that the whole can exist chronologically prior to its parts and independent of them. As well as art, religion or humanity, theatricality is not something that’s initially given. The primacy of the whole arises as a fact of the structural separation of its parts in the field of tension of the system integrity.