Ability and need to live in fictional rolesUndoubtedly, one of the main conditions accompanying the creativity of any artist is the ability and the need to live in fictional roles, continuous self-identification with one or another character. Each plan, every creative hobby is content not with a part of the artist's inner world, but absorbs it entirely, totally. Moreover, history contains many examples where a writer, an actor, an artist could give themselves to several creative tasks at once, or engage in absolutely incompatible projects at the same time, while achieving exceptional persuasiveness in translating opposite designs and roles. >
When the need for non-stop survival becomes a system, then it creates a kind of superstructure over life and puts the artist in a difficult position. It must consistently pass from reality to fiction and from fiction to reality, and such a change of positions, simultaneous possession of several forms of existence, introduces noticeable disharmony into his soul. A lot of introspection of the artists testifies to this. Goethe recalled that he wrote "Werther's" in some forgetting and inner heat, not distinguishing the poetic from the real, and was afraid to read his novel, so as not to fall into that "pathological" the state in which he wrote it. Heine considered this constant "the transmigration of souls" a painful condition and spoke about the need for a special effort of will to put an end to it.
Flaubert, describing the nervous fit of Emma Bovary, as if experiencing it himself: he must open the window to calm down. His head is like a fog, he is trembling with excitement. When I described the poisoning of Emma Bovary, I actually felt the taste of arsenic in my mouth, I felt that I was poisoned, twice I became seriously ill, so bad that I even vomited. "
The ability of the artist to dwell in every being - to be both a man and a woman, in love and beloved, with equal persuasiveness to achieve artistic realization in opposite characters - generated many explanatory theories. In this regard, Plato put forward the idea of androgyny as a distinctive sign of the artist's soul and the condition of the creative act; NA Berdyaev insisted on the "primordial bisexuality" (understood not anthropologically, but cosmically) as a condition of spiritual integrity and, therefore, of creative potential. The masculine principle introduces to this integrity Logos, order, female - Nature, unconscious element.
The above observations undoubtedly pose difficult questions for aesthetics: Is it possible to find behind the entire spectrum of fictional roles the stable core of the artist's personality, how to separate his real substance from the deliberately created life, which remains unshakable in quality the artist's human self "minus the of all his activities artistic-imaginary, role-playing, created for public perception?
As you know, the form of external existence is always the result of some efforts, the desire to give permanently vague and unfinished inner life a certain appearance, in which it is perceived by the observer. Life is different in the immersion I man in that which is not himself, in another's pure - so formulated this paradox X. Ortega-p-Gasset. "Living means going beyond yourself." This line of thought of the Spanish philosopher touches on the parallel ideas of MM Bakhtin: "From within, life itself can not produce an aesthetically significant form without going beyond its limits without ceasing to be itself."
Is there a connection between the inner-inner life of the artist in itself and life, which has assumed aesthetic outlines? It seems that the insoluble dilemma of sincerity and design is evident in the arguments of Ortega y Gasset and Bakhtin. Maybe the answer is simple enough: "minus comedy and hypocrisy remains a void, it can not discern either the core of the artist's personality, or any of its human mentality that is stable. One of the researchers of the beginning of the century thought so: "If his grace was sincere, it would not be so powerful, it would not seduce or captivate society, alien naturalness
In this case, J. Mariten argues that the sincerity of the artist is the sincerity of matter, ready to accept any form. It consists not in seeing yourself, but in accepting and cherish yourself exactly the way you find yourself at one time or another. Yet such a response causes dissatisfaction. The emphasis on the artist's boundless plasticity makes from him almost a weak-willed creature, carried away by the whim of mood, the streams of life that one way, then the other. It is a phenomenon more belonging to nature than to culture. It is possible, however, to soften the open-hearth interpretation, noting that the voice of the artist is spoken by the culture itself, the history itself, the Absolute itself. That is why the unstoppable cycle of his creative impulses is the manifestation of some superhuman substance, the objective course of things. This, however, does not negate the problem of finding a human, the personal beginning of an artist. No matter how we emphasize the divine power of his talent, his realization is connected not only with certain forces outside of us, but also through the inclusion in a multidimensional sequence of everyday extra-artistic relationships. The artist's need for an alternation of role installations is quite tangible in the everyday environment.
Much is written about the theatricalization of the artist's everyday behavior, his diligent efforts to cultivate an image that corresponds to different situations. It is interesting that even the great artists, inhabitants of the poetic Olympus, who can not be suspected of underestimating their own personality, considered it necessary to resort to the creation of a "special" form, when it came about a new acquaintance, representation, etc. A. Naiman remembers how in 1964 for the meeting with Akhmatova in Moscow came the chairman of the European literary community J. Vigorelli. Akhmatova, taking him at Ordynka, in the house of the Ardovs, tried to think through all the semantics of the external image, maximally "codify" this is the first impression. At the Horde council it was decided that it would be more convenient and spectacular to do this in the "child", reclining on the couch. She put on her kimono, powdered herself and lay down, leaning on her arm, - the classic pose of the holder of the European salon, Madame Rekamier, etc. - was directed to something in this spirit Scenario intent; plus immediately a resemblance to the Modigliani pattern, unexpected.
... Vigorelli entered the room, stopped in the doorway, looked back, opened his hands, exclaimed: "Anna!". She lifted her palm, waved it lightly in the air and said without austerity: "Hello, hello."
Already from the beginning of the XIX century. the artist enters the culture, into the public consciousness not only with his works, but also with his personality, destiny. A poetic legend developed around Hölderlin, Baudelaire, Toulouse-Lautrec, Rimbaud, as well as around Vrubel, Komissarzhevskaya, Chaliapin, Nijinsky. The creator himself, his life (and not only creativity) became the center around which the crystallization of feelings, ideas, ideas scattered in the spiritual atmosphere of the epoch occurred.
The public behavior of the artist strengthens his fame as a mystifier, lyceum. Tomlenie on the imaginary world of dreams, the desire to meet expectations, to translate an awkward, unlucky, sinfully vzbalamuchennuyu life in the legend, a fairy tale, calculated for the effect, often brings in its actions elements of masquerade. The sketch by Georgi Ivanov of the evening of a group of poets and prose writers "Krasa", which took place in 1915, is indicative: Nikolai Klyuyev ... hastily pulls at the mirror in the manager's poddevku and corrects the spots of blush on his cheeks. His eyes are thick, like a ballerina, summed up. Wrinkles around clever, cold eyes themselves blur into a demented, sweet, stupid smile. "
Even in those cases when the artist was too cautious about his cultural election, he cherished his cultural mission (for example, young "Miriskusniki"), not allowing himself in the public life of loud, shocking gestures, his appearance was carefully verified, thoughtful, cultivated with diligence, not inferior to creative obsession. Such theatricality of the artist's everyday behavior is based on the developed sense of his uniqueness, his calling. The artist realizes that any of his actions in life falls into the orbit of attention, and sometimes even discussions, and therefore seeks to give him some kind of super-domestic meaning. Hence - the cultivation of improvisation, the choice of styles of behavior depending on the situation. By catching an interested view of society, the artist, as it were, "arranges himself according to perceived expectations," becoming, on the one hand, "more typical" for the observer, on the other, continuing to amaze him by carrying out his own creative act with his behavior.
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