Dychotomy of the phenomenal and semiotic bodies of the performer in the context of a theater without an actor

Abstract

modern theatrical art and to reveal the features of the phenomenal and semiotic body of the performer in theater performances without an actor. Research methodology. A synergetic method is applied, due to which the essence of the dichotomy of the phenomenal and semiotic body of the performer and the mechanism of its transformation in the process of transition from traditional theater to the theater without an actor is considered; a systemic method for analyzing the phenomenal and semiotic body of the performer as a manifestation of integrity in the unity of all connections and relationships; the method of comparative analysis, which contributed to the comparison of the ways of perception and understanding by the spectator of the semantic content of the stage performance in the traditional, puppet theater and theater without an actor, etc. Scientific novelty. The problems of theater without an actor are considered in the context of the theory of body dichotomy by B.S. Turner and the model of the alternation of the phenomenal and semiotic body of the performer in the post-dramatic theater E. Fischer-Lichte; the absence of actors as traditional components of the stage production of the play is theoretically substantiated; it was found that, despite the absence of performers, a theater without an actor is a unique phenomenon of modern theatrical art, realized due to the dichotomy of the phenomenal-semiotic nature of the actor's corporeality. Conclusions. The study revealed that the dichotomy of the phenomenal and semiotic body of an actor is a meaningful tool for studying the interpretation of various types of modern theater. Based on the analysis of theater performances without an actor ("Feng Shui in a theater without an actor" B. Bulatovic, A. Mustar and J. Šimenc, Slovenia, Ljubljana, Cultural Center "Španski borci", 2011, etc.) it was found that in the absence of the phenomenal body of the actor in the stage action, scenography and props become the material vehicle of the semiotic body. Destroying traditions and moving away from the "actor - spectator" attitude, depriving the viewer of an actor of a person, theatrical figures strive for contemplation, open new horizons for the theater, which can cause unusual sensations and feelings.