"С записной книжкой на колене и карандашом в руке": актер как наблюдатель у Дидро ("Парадокс об актере").

Новое литературное обозрение. 2015. № 136. С. 231–240.

Roginskaya O.

This article discusses Diderot’s Paradoxe sur le comédien in the context of the issue of acting as a secular occupation, a public practice, and a crucial element of an enlightened eighteenth-century European’s identity. The significance of Paradoxe has to do with its radical rethinking of mechanisms of theatre and acting in public life, namely, with its rejection of the idea of the theatrical/role-playing nature of social behavior and its promotion of the idea of self-expression as representation of emotions. A harsh conflict between two types of acting, posited by Diderot through an argument between two interlocutors, largely serves metatheatrical purposes, attempting, in particular, to hinder the expansion of the idea of sensitivity within social and cultural spheres. - See more at: http://www.nlobooks.ru/node/6777#sthash.1qEr43Ub.dpuf

Keywords: социальная роль, чувствительность, actor, personal identity, актер, audience, французский театр, social role, европейская публичная сфера, sensitivity, зритель, the XVIIIth century theater, French theater, персональная идентичность, театр XVIII века