Kyiv National I. K. Karpenko-Kary University of Theater, Film and Television, Kyiv.
Keywords: the puppet art, the puppet variety art, the puppet theatre art, drama theory, linear narrative, rhizome, installation.
Abstract. The dramatic principles of the variety art puppet are fundamentally different from the principles of classical drama, the application of the principles leads to the creation of not concert numbers, but etudes, or small performances. At the empirical level, there is an understanding of the difference between the number and the etude, but the lack of a clear differentiation between them and the lack the principles by which the existence of the number becomes possible creates serious problems for practical work. Principles of classical drama, formulated in the era of the Enlightenment on the basis of the Aristotle’s unity of place, time and action, continue to dominate in the view of dramaturgy to this day. Search of the principles difference from classical ones leads us to turn to a non-classical picture of the world in general and to the philosophy of postmodernism in particular. So we apply the postmodern method of deconstruction to the subject of the research. Speaking about the binary opposition “etude and number”, let us pay attention to the broader opposition: “performance and concert”. It correlates directly with the concepts proposed by Gilles Deleuze and Felix Guattari, described in the work “Rhizome”: “tree” and “rhizome”. The linear narrative as a performance corresponds to the “tree” concept, the nonlinear narrative as a concert number corresponds to the rhizome. Linear narrative is created according to the classical principles of decalcomania, but nonlinear narrative is created according to the rhizomatic principles of cartography. “Tree” is centred on the root – ideas, “rhizome” is not centred. Rhizome is the sum of the relationship of its points. The idea in the rhizome is secondary and may arise as a result of the relationship between points of rhizome.
Analysis and deconstruction demonstrate that the concert and the numbers from which it is composed, in contrast to the performance and the etude, are rhizomatic systems, and therefore require radically other principles of drama. Application to rysomatic systems of the cartography method proposed by Gilles Deleuze, when instead of proving meaning, meaning is born in the process of the research, may become the main method of non-classical drama. The subject of the study in the concert number is the behaviour of the function, which may be a metaphor of the phenomenon of life, embodied in a certain form in the non-inherent for this function of the proposed circumstances. The form-function and the proposed circumstances become points of the rhizome, and their interaction creates rise to the meaning of the concert number.
Principles of rhizomatic drama, built on the cartography method, can be applied not only in the concert number with the puppet, but also throughout the art of the postmodern era.
Ruslan Neupokoiev, Honored Worker of Arts of Ukraine, Kyiv National I. K. Karpenko-Kary University of Theater, Film and Television, Kyiv.
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Published: November 22, 2018.
Section: APPLIED CULTURAL STUDIES AND CULTURAL PRACTICES.