Становлення хепенінгу у театральній практиці ХХ століття

Abstract

У статті розглянуто історичні аспекти становлення нової арт-практики – хепенінгу в театральному мистецтві. Проаналізовано естетико-художні властивості означеного явища, виявлено особливості функціонування хепенінгу в українській театральній культурі.

В статье рассмотрены исторические аспекты становления новой арт-практики – хэппенинга. Проанализированы эстетико-художественные свойства данного явления, выявлены особенности функционирования хэппенинга в украинской театральной культуре.

The integration of world art traditions in the Ukrainian art space has led to the upraise of a phenomenon, new for the theatrical culture, – happening. Happening has formed in the medium of «action art», an avant-garde trend, shifting the accent from the result of creation to the process of creating an artistic product. The artist’s actions are transformed in a kind of theatrical performance, which aims at the spontaneous involvement of spectators in the creative process. The name of the phenomenon in question comes from the performance of American artist A. Kaprow, named «18 happenings in six parts», which took place in 1959 in «Reuben Gallery». It is necessary to determine the postulates of the structure of happening: renunciation of the structure «scene – audience»; a short-term and unique action; a spectator turns from an outside observer into a participant of action; no script and developed story line; the performers act without plan, spontaneously, depending on the audience reaction. Besides actualization in the visual art and music, the features of happening can be also traced in the theatre environment. Happening as a formative element of performances, can be traced in A. Boal’s «invisible theatre», performances of Leo de Berardinis, R. de Simone, L. Ronconi. In the second half of the XX century, happening spread in Western Europe, gaining the features of international art practice, the development and formation of which is characterized in many countries by both similar artistic texture and similar ideological foundation. The first European piece of happening, «L’enterrement de la Chose», was staged by Jean-Jacques Lebel, a French artist, poet, art critic, in 1960. Besides J.-J.Lebel, J. Beuys, W.Vostell, K.Rinke joined European happening as well. Any place could be chosen for the place of action: a street, the territory of an abandoned factory, the roof of a skyscraper, a train. In the action, organized by the above mentioned masters, the prosaic gestures and deeds, separated from the everyday life, turned into a kind of an aesthetic show for a spectator and a method of leveling aggressive, erotic and other subconscious impulses for a performer. Regardless of the fact that the phenomenon of happening is relatively new for the Ukrainian theatre environment, its formative principles can be often traced in the performances of various experimental troupes. Vlad Troyitsky applies the director’s technique of ruining the border between the stage and auditorium in the performances of theatre «Dach». Kyiv playback theatre «Déjà vu plus» works at the intensification of relationship between the actors and spectators. This art practice is realized only outside the state art institutions: art association «Dzyga» (Lviv), foundation «Modern Art Centre» (Kyiv) work to support young Ukrainian artists. The dynamic development of happening in the Ukrainian art space offers new opportunities for the dramatic performances of nowadays. This art practice aims at awakening creativity in each person and opens the way of radical creative transformation to the Ukrainian theatre.