Размер шрифта: Фон:

УДК 79
ББК 76.03
DOI: 10.30628/1994-9529-2018-14.2-78-105

State Institute for Art Studies, Moscow, Russia
ORCID: 0000-0001-8386-9251
e-mail: k-saln@mail.ru



Abstract. The article is devoted to the sociocultural phenomenon of the television studio and its theatrical and literary background. In part this research may be classified among the archeology of media, more precisely, to the archeology of the aesthetics of modern television frameworks. One of the most typical types of television broadcasting is examined — the combination of studio action and broadcast of screen works of various genres, within the framework of one program. The author presumes that the most important elements of studio programs are their orderliness and controllability by the hosts, as well as the atmosphere of safe distance from the big world or from the multitude of virtual and real worlds. Civilized communication and direction of the streams of information and imagery are modeled in the studio. Therefore, violations of this pattern create such a strong impression.
The origins of the necessity for the studio atmosphere are in many ways connected with the images and moods of Ancient Greece and Rome and and, to an even greater extent, those of theRenaissance — the stay in a “charming corner” (locus amoenus), the search for the lost harmony of Paradise, as well with the development of individualism and the awareness of the high value of the protected state of the spectator and commentator.
It is not by chance that particularly during the process of the development of Renaissance forms theater was generated, in which the audience is distanced from the acted out performance and cannot be subject to any impact of the performers. It is not by chance that in the three most significant compilations of novelettes in the Renaissance, those by Chaucer, Boccacio and Margaret of Navarra peculiar frameworks have been created for some of the stories — situations of the many-day-long narration of stories and their commenting in pleasant society was modeled. The television studio programs shall inherit the function of the diverting and aesthetically attractive action, harmless for the participants and the audience members — assessment of the large world and contemplations about it aloud among the high society of interlocutors. In the 20th century the comfortable interior, devoid of any prosaic traits of everyday life, an exemplar of which is the television studio, takes up the position of the central image of the ideal public space. In the era of the Internet era the studio room of the video blogger synthesizes in itself the traits of privacy and virtual publicity. The idea of a safe public space for communication no longer prevails, giving way to the idea of total integration of the local “place of action” into the space of infinite real and virtual worlds, which should increase the socio-cultural status of the private territory and its inhabitants.

Keywords: screen culture, television, television studio, story within a story, Renaissance theater, Canterbury tales, Decameron, Heptameron, television presenter, safety, remote communication, everyday culture, media archaeology, Paradise, garden of earthly pleasures, public sphere.