The Ontological Status of an Artistic Image on the Example of Acting (II): Creation of a Stage Image

Relevance. In this work we continue to develop the range of problems raised in the first article, which shows that the ontological status of an artistic image is made up of its "materiality", sign-symbolic and metaphysical components. An urgent problem for the theory and philosophy of the theater is the development and substantiation of the processes of synthesis of the imagination and physicality of the actor in practice, in the embodiment of the stage image.

The purpose is on the basis of the philosophical and methodological analysis of theatrical practice we are going to show that the embodiment of a stage image in a theatrical performance is possible only under the condition of a joint maximum concentration of perception, both by the actor and the spectator.

Objectives: on the basis of various theatrical concepts and ideas of quantum-synergetic anthropology we plan to consider the formation of a stage image in practice; to reveal the relationship of the ontological status of this image with the problem of the unity of consciousness and body; to identify the features of the audience's perception of the game and the unique characteristics of theatrical practice as a post-non-classical practice.

Methodology. Historical and philosophical approach to the problems of perception and the correlation of corporality and consciousness; philosophical reflection, hermeneutical method, methodology of generalized corporeality in quantum-synergetic anthropology.

Results. The concept of a creative impulse of a theatrical action is introduced as an interpretation of the concept of A. Bergson's creative impulse in theatrical practice. As a result of the study, it was found that the completeness of the perception of the stage image mainly depends on the integrity of the states of the actor's generalized corporeality in the acts of the "creative impulse" of the theatrical action.

Conclusions. The theatrical production gives the viewer much less space for interpretation (compared to other non-stage art forms) in the process of being captured by the general action, although, of course, it does not completely deprive him of this freedom. The ontological status of the stage image represents the integrity of the processes of the generalized corporality of the actor and the audience's perception.

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