ТЕАТРАЛЬНОСТЬ КАК НАИВЫСШАЯ ФОРМА ЖИЗНИ: ФИЛЬМ «МЕРТВЕЦ» ДЖИМА ДЖАРМУША В КОНТЕКСТЕ ЖИЗНИ АНТОНЕНА АРТО

Abstract

The article is a kind of aesthetic experiment that reveals patterns between two stories from the life of the fictional character William Blake from the film "dead Man" by American Director Jim Jarmusch and French theater theorist and philosopher Antonin Artaud. The complexity of the work lies in the fact that the comparison takes place between a fictional hero and a real person who made identical metaphysical trips to the bosom of an ancient civilization. The path is presented as an experience of reincarnation with the possibility of gaining new knowledge, liberation from the burden of pain and illness, fears and anxiety. The author is interested, among other things, in the stages of transformation of the personality and its transition from a reasonable state to a mad state with the exit to purification and liberation of the hero in death. The metamorphosis of the transition to the territory of the transcendent (mad) develops into a holistic individual performance-a challenge to society. Theatricality as the highest form of life itself and its completion determine the initiation process of Artaud and Blake. Artezianka theatricality and tragedy are the tears of all life and the creative forces. Blake's theatricality is realized in a gradual alienation from the everyday world and immersion in the ritual world, which requires him to perform a number of mandatory rites, for example, applying the blood of a slaughtered animal to the face. Comparative analysis takes into account the concept of disease and morbidity, which is considered not from a medical point of view, but in philosophical and aesthetic discourses. For both characters, the fact of theatricalization of life, the Monstration of its aesthetic and moral categories through the optics of ritual and ritual practice of the Indians is postulated.