vaganovВестник Академии Русского балета им. А.Я. ВагановойBulletin of Vaganova Ballet Academy1681-8962Vaganova Ballet Academy10.26294/ARB.2019.65.6.003vaganov-1232Research ArticleТЕОРИЯ И ИСТОРИЯ ИСКУССТВАТHEORY AND HISTORY OF ARTИнтермедиальные практики в теории акционистского искусстваIntermedial practices in theory of action artМеньшиковЛ. А.MenshikovL. A.

канд. филос. наук, доц.

ул. Зодчего Росси, 2, Санкт-Петербург, 191023

Cand. Sci. (Phylosophy), Ass. Prof.

Rossi St., 2, Saint-Petersburg, 191023

lmensch@mail.ruАкадемия Русского балета имени А.Я. ВагановойРоссияVaganova Ballet AcademyRussian Federation20191712201906115129Copyright © Меньшиков Л.А., 20192019Меньшиков Л.А.Menshikov L.A.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://vaganov.elpub.ru/jour/article/view/1232

В статье рассматривается теория искусства интермедиа, разработанная на материале рождавшегося в 1960-е годы акционизма американским теоретиком и художником Ричардом (Диком) Хиггинсом. Прослеживаются истоки данной теории в практике авангардного искусства середины ХХ века и в социально-культурном контексте эпохи. Проявление синтетических тенденций в искусстве этого времени выражалось в иных формах, неизвестных ранее в художественной практике. Это требовало нового теоретического осмысления данной тенденции, которое было осуществлено в рамках неодадаистских манифестов. На основании анализа этих манифестов делаются выводы о специфике новых гибридов, возникавших в акционистских практиках. В результате обнаруживается связь трансгрессивности постмодернистского искусства и интермедиальных практик, которые через новые формы синтеза вели к возникновению неискусства как деятельности, разрушавшей границы художественного.

The article discusses the theory of intermedial art, developed on the basis of Action Art in the 1960s by American theorist and artist Richard (Dick) Higgins. The origins of this theory are traced in the practice of Avant-Garde art of the mid-twentieth century and in the socio-cultural context of the epoch. The manifestation of synthetic trends in the art of this time was expressed in other forms, which was unknown in artistic practices previously. This required a new theoretical foundation of this trend, which was carried out in the framework of Neo-Dada manifestos. Based on the analysis of these manifestos conclusions are drawn. They have shown the specifics of new hybrids that had arisen in actionist practices. As a result, a correlation between the transgressiveness of postmodern art and intermedial practices is found. Its led to the emergence of intermedia as an activity that destroyed the boundaries of art through new forms of synthesis.

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The authors declare that there are no conflicts of interest present.