КУКЛЫ В СПЕКТАКЛЕ ДРАМАТИЧЕСКОГО ТЕАТРА «КЕТЧ СО СМЕРТЬЮ» (ПО ПРОИЗВЕДЕНИЮ Э.-Э. ШМИТТА «ОСКАР И РОЗОВАЯ ДАМА» ИЗ ЦИКЛА «О НЕЗРИМОМ»)

• Main Author: ХОДАНЕН ЛЮДМИЛА АЛЕКСЕЕВНА
• Format: Text
• Language: unknown
• Published: Федеральное государственное образовательное учреждение высшего профессионального образования «Кемеровский государственный университет культуры и искусств» 2015
• Subjects: Э.-Э. ШМИТТ,E.-E. SCHMITT,СПЕКТАКЛЬ,PERFORMANCE,ГЕРОЙ,HERO,КУКЛЫ,PUPPETS; White Island
• Online Access: http://cyberleninka.ru/article/n/kukly-v-spektakle-dramaticheskogo-teatra-ketch-so-smertyu-po-proizvedeniyu-e-e-shmitta-oskar-i-rozovaya-dama-iz-tsikla-o-nezrimom; http://cyberleninka.ru/article_covers/16682427.png

В статье рассматривается проблема использования поэтики театра кукол в спектакле драматического театра. Материалом для изучения является постановка монопьесы Э.-Э. Шмитта «Оскар и Розовая дама» из цикла «О незримом», осуществленная в театре «Белый остров» (г. Кемерово, режиссер-постановшик С. Басалаев). Задача статьи рассмотрение художественной семантики детской игры как органичной формы мировосприятия и поведения ребенка, главного героя спектакля, и роли игры в разрешении трагической коллизии, обусловленной смертельным диагнозом Оскара. Выделено и проанализировано несколько форм игры: письма мальчика к Богу, движение по вымышленной лестнице времени, подсказанные Розовой дамой, и создание своего театра кукол, в котором герой разыгрывает случившиеся с ним события, превращаясь в актера-кукловода. Рассмотрена роль Розовой Дамы, становящейся клоунессой и создающей игровую ситуацию для находящегося в депрессии Оскара вымышленными рассказами о своем прошлом. Установлено, что игровые формы поведения и творчества выступают средством раскрытия внутреннего мира подростка в процессе становления его духовного опыта, а также служат созданию сквозного действия и формирует целостный мир спектакля. The known soviet psychologists D. Elkonen and L. Vygodskyi consider the gaming nature of the children’s “psychomotorica.” In the theatrical performance under discussion the hero of which is a child, the producer realizes the peculiarities of the children’s perception and fill it with artistic content. In the performance “Catch with Death,” staged in the “White Island” Theatre (Kemerovo, S. Basalaev as a producer, M. Proshkina as an artist and I. Puzyreva as a choreograph) the tragic situation with a deadly illness of a child is in the basis of the staged story. In the performance the inner world of the main hero is in the focus of attention. The hero is under spiritual revival and acquires belief in Christ. The children’s game is the main form of the stage performance and defines the character of the communication with the audience. Meetings with the child’s parents, meetings and talks with the Pink Dame, the main hero’s love to a girl-patient, Patty Blue, his contacts with other children-patients, doctors and nurses of the hospital are given as facts, which Oskar reports to the God and stage in his own puppet-theatre. Thus, everything which is going on, is given through the eyes and consciousness of the main hero. The gaming situation comes from the dialogue of Oskar and the Pink Dame, who as a clownees, tries to incourage and challenge the teenager who is deeply depressed. The Pink Dame tells him stories of her imaginary activities as a daring catchist. Quite understandable and close to him world of brave and daring actions incourages Oskar, inspires energy for activities into him. He creates his own small puppet-theatre, where he stages the events happened to him. Three puppets turned into personages and some objects found in the ward, everything around him are made participants of the show by him. In the performance under discussion the producer employs an element, known as an “open device”puppet work without screen. The actress E. Purgina works with finger-puppets, “talking” puppets, with objects turned into puppets. Oskar, performed by the Pink Dame, always remains the main hero of the acting and determines his spiritual revival. Simultaneously, the personified puppets and other objects get into conflict and mise en scene, created by the boy, form some plastic visible world which reflects his perception and understanding of everything happened to him. The puppet-theatre poetics in the performance “Catch with Death” appeared to be a colourful, expressive means to reveal the inner world of the teenager-hero, the creative potentiality of the personality, the richness of psychological reactions, gestures, motions, deeds of the Unknown on the way to the hero’s maturity. The puppet manipulation did not turn into simple illustrations of Oskar’s thoughts, but they became a means of expression of “transcendental” action, realized in the conflicts and dialogues of the personages, which in itself forms the integral world of the performance.