Пластические тела в научных работах Трофима Лысенко, Арона Залкинда и в искусстве Константина Станиславского в эпоху советского бихевиоризма

Новое литературное обозрение. 2021. С. 130–150.

Вейгандт С.

Translator: Agafonova Y.

The research for this article took place at the intersection of art and science in the period of early Soviet modernism. The article focuses on the conceptualization of “plastika” in theatre arts and how actors used it as a means of self-expression in theatre at the end of the 1910s and beginning of the 1930s. But in the area of Behaviorist science at this time, the term “plastika” carried not only a different meaning but in fact, it carried an opposite meaning. Plastika was used in Behaviorist science in relation to the study of primitive human instincts and reflexes that used external and material causes and relations to explain internal workings (for instance, the psyche). Against the background of Behaviorist rhetoric which was ubiquitous in the 1920s and 1930s, plastika expression in theatre arts appeared an anomaly for its time. This article argues for the counter-culture of theatrical plasticity in the Soviet modernist era.

 

Keywords: телесность, бихевиоризм, behaviorism, plasticity, soviet modernism, советский модернизм, пластика, bodies