Quantum-synergetic ontology of generalized corporeality (Part III): psychosemantic language of theater, anthropological jazz

Abstract

This article is a continuation of the topic on methodology of generalized corporeality, which stems from the concept of quantum-synergetic anthropology, developed in the previous parts of the triptych. Ontologies of the states (functional bodies and subbodies of generalized corporeality), as well as temporal ontologies are viewed on the example of theatrical acting. The author structures an isomorphism of the well-known musical notation, and representation of the changing anthropological profile in form of a chord of the simultaneously activated “resonating” states of the actor. The article discusses the appropriateness of such musical metaphor, analogy between the freedom of actors’ improvisation, as the anthropological jazz characteristic to any performer, although to different extent. The classical style is even less versatile than jazz improvisation. The author draws parallels of such performances with works of the classics of theater directing, philosophy of acting, and communication of musicologists: K. S. Stanislavsky, A. A. Vasiliev, B. Latour, J. Huizinga, J. E. Berendt. A certain language of interpretation of acting is offered using the dynamic patterns of description of events in the course of the play.  If these patterns are adequate to stage reality, which the author was trying to prove, they can be implemented in training the actors, staging performances, etc. This virtually led to creation of a new psychological technique that allows amplifying the acting skills. Moreover, such type of notational representation of actor roles allows archiving and decoding the director's intention using a fairly universal method.