vaganovВестник Академии Русского балета им. А.Я. ВагановойBulletin of Vaganova Ballet Academy1681-8962Vaganova Ballet Academyvaganov-755Research ArticleТЕОРИЯ И ИСТОРИЯ ИСКУССТВАТHEORY AND HISTORY OF ARTИРОНИЧЕСКИЙ ДИСКУРС В НЕОДАДАИСТСКОМ КИНОIRONIC DISCOURSE OF NEODADAIST CINEMAМеньшиковЛ. А.MenshikovL. A.

Кандидат философских наук, доцент

Театральная пл., 3, Санкт-Петербург, 190000

Leonid A. Menshikov, Cand. Sci. (Philosophy)

3, Teatralnaya Square, St. Petersburg, 190000

lmensch@mail.ruСанкт-Петербургская государственная консерватория имени Н. А. Римского-КорсаковаРоссияSaint Petersburg State Rimsky-Korsakov ConservatoryRussian Federation20181704201801130141Copyright © Меньшиков Л.А., 20182018Меньшиков 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/755

В статье проведен анализ иронического дискурса, свойственного эстетике западной неоавангардной группы «Флюксус» и отраженного в ее проекте «Антология флюксфильмов». Рассмотрена проблема использования средств киноязыка для реализации технологических новаций в рамках акционистской практики. Пародийное воплощение форм ассамбляжа и реди-мейда стало основой проекта. Автором реализовано типологическое исследование подборки флюксфильмов, снятых художниками в середине 1960-х годов. В результате выявлен тип ленты, в наибольшей степени отражающий все аспекты иронического дискурса неодадаизма, выделены фильмы, относящиеся к этому типу. Было осуществлено описание таких работ сборника, сделаны выводы относительно их роли в формировании мультипля. В поле исследования оказались фильмы Мачунаса, Риддла, Уоттса, Фандербека, Джонса, Андерсена, Файна, представляющие собой знаковые или предметные ассамбляжи и реди-мейды, на основании изучения которых делаются выводы о месте иронических лент в типологии флюксфильмов.

In this article the analysis of an ironical discourse in Fluxus project of the Fluxfilm Anthology is made. This discourse was peculiar to aesthetics of the western neo-avant-guarde Fluxus group activity. The using of the cinematographic language for technological innovations of Action art is considered. The ironical realization of assemblage and ready-made became a project basis. The author realized a typological research of the fluxfilms made by artists in the 1960s. The film type which is most reflecting all aspects of a neo dadaist ironical discourse is revealed as a result of the research. The description of all works from this collection relating to this type has been carried out. The conclusions about its role in the formation of multiple are drawn. In the field of research there were Maciunas, Riddle, Watts, Vanderbek, Jones, Andersen, Fayne’s movies representing sign or subject assemblages and ready-mades. On this basis the conclusions about the place of ironical films in typology of fluxfilms are drawn.

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