MAYAKOVSKY’s LYRICAL THEATRE

Abstract

The research is devoted to the phenomenon of lyrical drama as the genre-type synthesis result. Based on Bataille-school ideas and «experience-limit» conceptions, it finds justification in relation to V.V. Mayakovsky poetry. Specificity of “experience-limit” as radical self-questioning consists in taking subjects away from themselves - splitting up on few “Me”. That process has a systematizing function in the Mayakovsky’s art: his lyrical person plays a part of the main drama’s actor, trying to determinate himself by fitting experiences of different hypostasis and reflecting them through the dominant person poetic experience. “Experience-limit”, going through the whole art system of Mayakovsky, gives a reason not just characterize it as lyrical drama, but expand the last to the “lyrical theatre”, which contains not Mayakovsky’s dramaturgy legacy itself, but that dramatic part his lyric based on. Aesthetic categories, characterized within theatre discourse as “The Cast”, “The Vestment”, “The Going On Stage”, “The Prologue”, “The Action Development”, “The Acting Parts” and “The Animal Etudes”, was marked in the lyric theatre concept. These categories find its comprehension in the article and also form an idea about common aspects of experimental aesthetic, which allows to include Mayakovsky’s lyrical theatre in the line epochal art searches. So, the article claims the parallel between inner art space’s metaphysic and New Drama, where objective reality surpasses the will of the person, as determining factor, sharing on lyrical theatre at whole. The lyrical drama of V.V. Mayakovsky is the tragedy (which protomodel is archaic mystery drama) since the beginning.