| Popis: |
Вивчається перфоманс як одна з форм політичної дії-гри у постмодерній реальності. Політичний перформанс аналізується як нова технологія спілкування в системі «влада - суспільство», поява якої зумовлена втратою потенціалу традиційними технологіями політичної комунікації. Доводиться, що перфоманс якнайкраще вписується у соціокультурну матрицю сьогодення. Наголошено, що політичний перфоманс уже укорінився як форма соціального протесту в Україні й засвідчив свою ефективність як технологія взаємодії (впливу). The article explores the concept of performance as a form of political action-game in postmodern reality. The political performance is analyzed as a new technology of communication in the system “power-society” that appeared in response to the loss of potential by traditional technologies of political communication. It is being proven that performance ideally fits the sociocultural matrix of the present time. It is stressed that political performance has already been embedded as a form of social protest in Ukraine and its effectivity as a technology of interaction (influence) has already been proven. Virtually all connotations of a performance indicate the existence of an active setout, which engenders the creative act. Generally the creativity of the performance's subject is oppositional to the political government, that's why it doesn't fit within its political stratagems and tactics. The performance should be understood as a creative act of a subject, which is realized in a certain place and at certain time, carries public and demonstrative character, and is being realized through a peculiar dramatized action, visually registered by the audience. The performance is a creative act of a subject, its self-presentation through the conception and action, addressed to a particular audience. We prove that, though the performance appeared in XX century, its elements have been present in all historical epochs, beginning with the most ancient civilizations. It is argued in the paper that protoforms of the performance were present already in the Antiquity, that means that dramatization has always been an important part of public politics. Thus, we suggest the existence of a profound interconnection between politics and theater. It has been emphasized that the primary goal of political performance is not the communicative act itself, but the achievement of the audience's attention, since the political choice is often done under the influence of emotions. It has been specifically stressed on the importance of discernig between political performance and political ritual. If there is a border between the performer and the spectator in political rituals (parades, inaugurations, etc.), such a border is consciously eliminated in the performances and the accent is laid upon the interaction between the scene and audience. It is being proven that the performance is a complex communicative action, in which the role of both the performers and the audience is equally important. The essence of performance manifests itself in its function as a way of manifestation of political ideas and demonstration of the role of its supporters. Изучается перфоманс как одна из форм политического действия-игры в постмодерной реальности. Политический перформанс анализируется как новая технология общения в системе “власть - общество”, появление которой обусловлено потерей потенциала традиционными технологиями политической коммуникации. Доказывается, что перфоманс лучше всего вписывается в социокультурную матрицу настоящего. Отмечено, что политический перфоманс уже укоренился как форма социального протеста в Украине и показал свою эффективность как технология взаимодействия (влияния). |
