Символічна образність масових видовищ Давньої Греції (на прикладі Діонісійських містерій)

Abstract

У статті досліджено значення символу як найголовнішого засобу виразності при створенні художнього образу масових видовищ та свят епохи античності. Розглянуто роль давньогрецького міфу, який є основою всіх видовищ означеного періоду. Показано особливості проведення Діонісійських містерій. В результаті дослідження виявлено, що символічна образність є завжди зовнішньовиразною, тобто видовищною.

В статье исследовано значение символа как самого главного средства выразительности при создании художественного образа массовых зрелищ и праздников эпохи античности. Рассмотрена роль древнегреческого мифа, который является основой всех зрелищ обозначенного периода. Показаны особенности проведения Дионисийских мистерий. В результате исследования выявлено, что символическая образность всегда является внешневыразительной, тоесть зрелищной.

The article is devoted to the meaning of symbol, as the most important way of imagery for the creation of images of Old Greek performances and holidays. Author points up the theories, that every cultural demonstration is symbolic a priori, as well as the person him/herself. The ability of culture creative activity is connected with this: on the one hand, to make a synthesis of innovative and traditional, on the other – to distinguish them. Symbol is an embodiment of this ability. In anthological meaning it is a significant formula of a particular type of culture, idiosyncratic «identity card». At the same time, functioning in different cultural texts as representation sign, symbol attains epistemological qualities. At the times of antiquity it also possessed regulatory-legislative, normative and cognitive meanings which provided selectivity of communication. Old Greek myth is investigated as the basis for all performances of the abovementioned period. Symbolic structure is imbedded in the myth itself. Need to show this or that deity with the help of different symbols appeared in Hellenes culture according to the gradual development of anthropomorphism. Animals, plants and things are used as symbols. We cannot leave the following fact unnoticed: many holidays (much more than in the following centuries of Christian culture) are held in Greece in the honor of different Gods, as the representation of a particular myth. The peculiarities of Dionysian mysteries’ holding are shown. Mysteries belong to those peculiarities of Greek culture which were spread all over Hellenes. Mythological cycle of Dionysus is very difficult, because he appears in myths under different names; to be more exact, antique religion acknowledged several appearances of Dionysus. During the celebration of Dionysian mysteries ritual actions were held. Specificity of such rituals is in symbolic character of actions, which means that every action comes laden with peculiar content, significant character, becoming the language of culture. Because symbol is an image or sign, with a deep implication. As the result, we came to conclusion that symbolic imagery is always externally spectacular, showy. Symbolic imagery as spectacular convention became the basis for many theatre performances, ideological, political and manipulatory weapon of influence on public conscience (Soviet performances of 20–30’s of XX cen), which combined in itself the heritage of professional theatre with the traditions of ritual culture.