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УДК 378 Садыхова Л. Г.
ТЕХНОЛОГИИ КОММУНИКАЦИИ И ЭПИСТЕМОЛОГИЯ КУЛЬТУРЫ ЧЕРЕЗ ТЕАТРАЛЬНЫЕ ПАРАДИГМЫ
Аннотация. К числу действенных технологий коммуникации можно отнести представление. Эпистемология культуры, в свою очередь, реализуется посредством развития научно-философской рефлексии, а также смены парадигм в литературе и искусстве, в том числе через трансформацию театральных парадигм. В работе время как составляющая театральных парадигм рассматривается на примере британского театра.
Ключевые слова: технологии коммуникации; эпистемология культуры; театральные парадигмы; время как составляющая театральной парадигмы; британский театр.
Communication technologies which are sought for and elaborated in nowadays educational system aim at some in-depth cognition of objects under study. Whereas many contemporary theorists associate communication technologies with cyberspace [5], they can also be exemplified by such long-standing synesthetic culture, and epistemology, phenomenon as performance, during which verbal and non-verbal codes of communication operate, and understanding, as the formation of meanings and sense, evolves on a much more complex basis [2] than in course of a traditional learning.
Any in-depth learning results from complex, participatory experience rather than from a mere rational getting knowledge [4] . Culture, including learning, is always participatory as it is based on many relationships and various communication technologies. Those latter mean, in cultural studies, diverse means of communication, which are alternative to the use of speech [8], such as writing, drawing pictograms, symbolic gestures, etc.. Performance, in its turn, simultaneously combines different communication technologies, ranging from verbal language to symbolic meanings of sets and props. Together with drama text it is to realize, or to embody, performance can be seen as a model to crystallize its time's cultural thought [3], and is a powerful agency of reproducing, and thus imposing some current moral norms and attitudes, as well as their change, in particular [1].
All this implies, besides, that what M. McLuhan said about the media, "the medium [understood, in fact, as any way to express oneself - L.S.] is the message" [6], can be extrapolated to epistemology of culture, for example the theatre paradigms as general patterns of what and how was/ is performed to appeal to a contemporary audience, and in a relevant way too.
If one looks, for instance, at our epoch, when nowadays technologies have made it so easy to move in and through diverse 'real' spaces, people mainly do with those 'virtual', by information exchange and digital communications. R. Williams, one of the originators of cultural studies, wrote about such communication technologies that they "preceded their content" [8]. A. Rayner, who specializes in drama, draws parallel between cyberspace and the contemporary theatre, and goes further, by stating that their content is "real time" [7; P. 356].
Meanwhile, in previous epochs theatre implied more or less elaborated creation of content; moreover, classical theatre required the unities of time, space, and action. The gradual change of theatre paradigm is analogous, if not altogether parallel, to the shift from the Newtonian to non-linear view of the universe in sciences. In literature, there was a relevant tendency as well, that of 'polyphony' of voices to replace a consecutive narration. What is heuristic of theatre, and thus contributes to the epistemology of culture, is that performance is "event", which makes it easier to visualize the transformation.
Let us take the time as a crucial element of theatre paradigms, both in terms of their gradual change across centuries, and as an implied factor of the form as well as of the content of performances, those of Britain's theatre in particular. Thus, for instance, in its 'Golden Age', when the national identity was being formed, time was rendered as more or less imaginatively re-created 'Past", with so popular history dramas, rather than reproducing the modernity, of Elizabethan Renaissance. In the next century, with its political and religious instability to be finally overcome by the Restoration, with its re-established principles of social and political being and of cognition (and, indicatively, opening of what could be called the Academy of Sciences, where the fundamental natural laws were determined), theatre corresponded to this, ranging from the vagueness of time at the beginning of the century to the observation of the classical unities at its end. In the Enlightenment epoch, when the reason, reflexion and social criticism prevailed, the theatre was correspondingly interested in, and fixed on, its own time. On the nineteenth century's stage, in the days of the nascent mass media and mass culture, on the one hand, and the taste for science and for history, on the other hand, time becomes more 'historical' (performative arts striving to re-create that which was true to the facts) than it had ever been. Even that period's sensational drama was somewhat analogous to journalist reports, consecutively and in details portraying some 'real' cases.
As for the twentieth century's Britain's theatre, it was much more complicated and nonlinear, ranging from traditional drama to experimental 'Verbatim', or documentary, performances. And it is in the 20th century's theatre that the view, and the form, of the time in theatrical paradigms changed, as well as it did in that period's philosophy and sciences, again. This began in the 1930s' productions of Shakespearean pieces, with the use of contemporary dress (instead of historical, or neutral, costumes) and setting, and continued through Harold Pinter's to Tom Stoppard's 'non-linear' drama, in which time either flows or stops unconventionally, or alternates between the past and the present. Thus, for example, in Stoppard's "Arcadia" (1993) the actions take place, alternately, in the 1800s and in the 1990s, the plot being polyphonic, the subject concerning the non-linear vision of the universe. Characteristically, scientists and students of sciences as well as of the humanities, are among the personages, and they all discuss precisely the epistemology matters which correspond to the content and to the form of the play, its structure in particular. Thus a theatrical paradigm, expressed through performance, embodies culture self-reflexion.
To sum up, theatre performance, being a synesthetic culture event and means of cognition, can be seen as a long-standing and complex communication technology. Theatre paradigms express
themselves through performances, and change across historical periods, the analysis of such transformation contributing to learning cultural studies, and to the development of epistemology of culture.
REFERENCES
1. Садыхова Л.Г. Моральные установки в английской драме XIX века// Искусство и образование, 2012, № 4. С. 30-35.
2. Садыхова Л.Г. Театр как способ познания// Философия и социальная теория. Сб. научных трудов. - М., 2008. - С.380-399.
3. Садыхова Л.Г. Concerning Methodology of Cultural Studies: Theatre as a Model Object (О
методологии культурологии: театр как модельный объект)// Надежность и качество: Труды Международного научно-практического симпозиума. - Пенза, 2008. - С.174-176.
4. Садыхова Л.Г. Teaching Cultural Theory: Theatre in terms of Communication and Training (Преподавание культурологии: театр в терминах коммуникации и обучения)// Надежность и качество: Труды Международного научно-практического симпозиума. - Пенза, 2012. - С.286-288.
5. Lister M., Dovey J., Giddings S, Grant I., Kelly K. New Media: A Critical Introduction. L., Routledge, 2010.
6. McLuhan M. Understanding Media. The Extensions of Man. L., Routledge, 2004.
7. Rayner A. E-scapes: Performance in the Time of Cyberspace// E. Fuchs and U. Chaudhuri
(Eds.). Land/ Scape/ Theater. Ann Arbor, the University of Michigan Press, 2005.
8. Williams, R. Politics of Modernism: Against the New Conformists. L., Routledge, 2007.
