Самоопределение «без маски» в исполнительстве и его восприятии в 1960–1980-е

Художественная культура. 2024. № 1. С. 34–49.

Tulchinskii G. L.

This work contains an attempt to understand the sources,
evolution and results of the phenomenon of personal sincerity in the
Soviet performing arts of the 1960s-1980s. This refers to three complementary tracks of the development of Soviet artistic culture (style,
type, and method of perception) which determined various performing
arts coming to the fore. Special attention is paid to author songs, theatre, cinema, and Russian rock. The material for such comprehension
consists mainly of the personal experience of the author of the article,
including observations and personal participation in the events described. The methodological basis of the work is a pragmasemantic approach, according to which meaning formation is determined by the
contexts of socio-cultural practices, while personal subjectivity acts as a universal interface for such meaning formation, its dynamics, changes and interactions of contexts, including cultural and political ones.
Meanwhile, subjectivity itself is formed in a specific historical and cultural context, including art and artistic culture. This, at the same time, contributes to the positioning of subjectivity in society, its self-realization and self-organization
 

Keywords: театр, киноклуб, История и конструкция органа, органная музыка, органное исполнительство, музыка барокко, искренность, авторская песня, зрительская аудитория