Places Of Spectacle And Spaces Of Performance In Experimental Theater Culture Of The Xx-Xxi Centuries (Russian Context)[Места Зрелищ И Пространства Перформанса В Экспериментальной Театральной Культуре Хх-Ххi Веков (Российский Контекст)]

The subject of the research is various practices of the live art and spatial reflection in them. The purpose of this study is to identify the correlation between the “spatial turns” of the history of Russian live art and social ideological contexts. The relevance of the research is associated with the study of the function of spatial reflection in a new, increasingly virtualized cultural situation, developing in response to the restrictions imposed because of the pandemic. The novelty of this research is associated with the introduction into scientific circulation of various archival documents from the history of the latest forms of the live art in Russia in 1990-2010. Also new is the cross-institutional understanding of the object of research, covering both theatrical and photographic, expositional art practices outside the theater and museum building. Poststructuralist art theory and cultural memory theory became key theories on the basis of which analytical approaches to understanding the current artistic process were developed. The work resulted in theoretical developments for the study of the spatial aspects of the latest practices in live arts, as well as the identification of social and cultural contexts that are key to the history of art in situ in Russia. The negative aesthetics of theatrical events mastering non-theatrical spaces: streets, foyers, roofs, squares, natural landscapes open up the possibility of analyzing the theatrical process and its auto-reflective function. Theatrical and performative events turn out to be closely integrated into such social processes as cultural democratization (inclusion of more and more new groups in the processes of cultural interactions), commemoration (the creation of new rituals and narratives for memory and preservation of cultural heritage), as well as in the processes of creating and drawing attention to the public spaces of a modern city. We believe that a necessary step for the development of the theory of contemporary art is the inclusion of a cross-disciplinary understanding of the object of study, in which live performing arts, installation arts, visual arts, video and audio experiments in exhibition projects would be considered together and thus the ideas and concepts of post-structuralist cultural criticism could be applicable to the contemporary art process.