Особенности осмысления понятий «перформативность», «перформанс» в современной отечественной и зарубежной науке

Abstract

Performativity and performative forms have become an intrinsic part of almost all academic genres, and have contributed to their renewal: in musical theater, under the influence of performative forms, such varieties of opera performance as post-opera and documentary musical theater have appeared; in instrumental music the interest in instrumental theater has not subsided for several decades. In the present-day musical culture, performative forms have become a type of platform for uniting together the academic, classical and the non-academic, popular traditions, which has been vividly demonstrated by the festive culture, in which synthetic performative forms, absorbing the features of historical-ritual and secular festivals, have produced many new ideas. However, in humanitarian scholarship, when comprehending the concepts of “performance art” and “performativity”, a field of debate has been thereby created. In Russian musicology, the issue of studying performativity and the performative forms of contemporary art has not received any proper elucidation. The questions related to the development of this issue currently remain open and provide ample opportunities for research. The article is devoted to the issue of comprehending the concepts of “performativity” and “performance”. An attempt is made in this work to trace the peculiarities of their formation in modern scholarship in Russia and in other countries, to consider the approaches to the study of performance art and performativity as they have been developed in related fields of humanitarian knowledge, to identify the questions of discourse in art criticism, and to outline the prospects of further research relevant for musicology. The authors propose and substantiate the interpretation of performance art as a form of presentation which combines theater and ritual and assume a special interpretation of the role of the audience member as a direct participant in the events taking place. This point of view makes it possible not only to unite such different spheres as the academic, classical musical genres and art practices, but also to consider the performative forms of their presentation as a unified phenomenon of musical culture in the last third of the 20th century the beginning of the 21st century. Keywords: the concepts of “performance” and “performativity”, theater and ritual, discourse in art criticism.