Български цитатен индекс (версия 2.4) Български English

On comedy, values and “bears” in Bulgaria Назад

Език: Английски
Държава: България
ISSN: 0324-1653
Автор: Йоана Спасова- Дикова
Заглавие на статия: On comedy, values and “bears” in Bulgaria
Паралелно заглавие: On comedy, values and “bears” in Bulgaria
Заглавие на списание: Papers of BAS. Humanities and Social Sciences
Том: 4
Година: 2017
Книжка: 2
Страници: 175-184
Научна област: Хуманитарни науки и изкуства
Научно направление: Театрално и филмово изкуство
Ключови думи: : cultural values, aesthetical tastes, “silent majorities”, comedians, theatre “bears”
Интернет адрес: http://www.papersofbas.eu/images/papers/Papers-2-2017/Papers%20of%20BAS-2-2017-Spassova-Dikova.pdf
Резюме: The text is part of a larger study of different aspects of the development of the comic theatre art in Bulgaria viewed in European context. The focus is put on the mass culture influence on the genre of comedy in contemporary theatre when comedians go out under the spotlights, not only in theatres but also in shows, in movies, on television, in front of their audiences, before the eyes of loudly applauding and laughing spectators. In the devilish struggle for the soul of the spectator at any price that is immanently embedded in the very nature of the actor, many of the comedians, no matter how talented, are misled by the loudly applauding laughing audiences that do not emit, but absorb. The actors sink into the black hole of uncritically consuming masses that desire them and expect their portion of fun, eagerly absorbing every word, smile, gesture. The artists forget their mission of spiritual leaders, who have to scourge the vices of society. On focus are the contemporary problems with the comedians who often begin overplaying. The latter ruins the so-called “bears”, which in most cases are wonderful and talented actors. The paper discusses the public attitudes and aesthetic values and tastes of our time. The many TV shows like “The Comedians” or a series of similar ones, unfortunately worldwide create audiences that are looking for cheap entertainments, audiences who paradoxically turn into “silent majorities”, as Baudrillard called them.

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