Теории юмора в изучении фигуры клоуна

Abstract

This article continues the research of the author in the field of studying the phenomenon of a clown. The author discusses the problem of polar interpretations of the figure of a clown in scientific discourse, where there is a noticeable absence of convincing art history and cultural theories and concepts that can explain the connection between the figure of a clown and the phenomenon of laughter and humour. It is noted that, despite the fact that most studies focus on clown laughter, they do not analyse its specifics. In connection with the problem posed, the author suggests shifting away from the established paradigm of considering a clown as an artistic image and a comic character, and puts forward a hypothesis, according to which evolutionary theories of laughter and humour hold considerable verification potential for studying the clown figure. The author concludes that based on A.G. Kozintsev’s interdisciplinary evolutionary theory of laughter and the theory of humour, it is possible to prove the relationship between the clown phenomenon and the nature of laughter. The article discusses the assumption that man is the only species capable of semiosis and humorous meta-reflection, due to which he can be considered the most superficial hominid or “a flat animal” (the concept of G. Deleuze) that has humour, which is equivalent to a clown. The results of this research can be applied when studying the peculiarities of a clown as an artistic image (representation) in a work of art.