Феномен «телеестрада» у дзеркалі мистецької критики
The phenomenon of «Telestage» in the mirror of art critique

Summary/Abstract: Maintenance of concepts of «variety art», «television», «show» and «televisional variety art» are studied in the article. Regularities of interrelation of two artistic systems: variety art and television are found out on the basis of theoretical research of particular qualities of the similarity of the variety art and television. The purpose of the article is to identify the basic approaches to clarify the nature of «televisional variety art» that appear in the literature of the subject of art. The critical synthesis of perspectives on the phenomenon «televisional variety art» existing in domestic and foreign literature, found the level of scientific development concept «television variety art». Scientific novelty lies in the fact that the first scientific problem refers comprehensive study of variety art in the field of television. The complex of discovered literature on the definition of the phenomenon of «televisional variety art» represents a small number of publications — monographs, articles, thesis papers, reviews, interviews, lectures at various conferences, which are existing terms. By genre and thematic basis, they can be divided into three main groups. The first category includes monographs, dissertations research and popular science articles that variety art on television is regarded as a new cultural phenomenon. The second is newspaper material containing journalistic analysis of various aspects of the phenomenon of «variety art on television». The third - interview artists, producers, directors and managers of TV channels. The specific connections between the variety art and television, including similarities and differences between the two objects of study are outlined. Kinship is expressed by the special features of entertainment, large-scale participation, a synthetical character of influence on the audience (of scenery, literary words, acting), a direct contact of the actor and the audience, the conventions of action and the principle of the structure of the stage space on the stage and the screen. Found out that, unlike the masters of opera and symphonic instrumental music, entertainer, especially singer, on TV screen looks quite organic. This is due to the fact that «the immediate nature of the relationship entertainers and the public has a lot to do with the direct form TV appeal to its audience». In the scientific literature, along with the work, which interpreted «televisional variety art» as a new artistic phenomenon, there are also a number of statements about the incompatibility of variety and television arts. Particularly they are in the publications of N. Zorka, A. Sherel, V. Wilczek. One of the fundamental differences is the volume of information and ways of perception of the viewer information. Found out that the action in the theater takes place on stage, in film - on the screen, and in television performance - somewhere between the screen and the audience. It is found that the features of differences force to focus on the specifics of each of arts, on the unique point that distinguishes them from other artistic phenomena. The features of the creativity of the artist both on the «screen» and «off-screen» stage are described in the context of this aspect. Moreover, it is revealed that the first works that were used for television broadcasts becamethe stage forms. The complete analysis of the critical points of view of the scholarson interrelations of TV as a separate independent art form and contemporary stageis studied. The specificity of the television stage as a separate phenomenonis investigated. The basic approaches investigated to ascertain that is a «TV variety art». It is discovered that one of the main features of the research object is «escapism» and «serialism» (absence of clearly defined plot due to the moment when the viewer watching the televisional program, and the possibility to replay at any other time). Clarified the basic functions that must execute entertainment programs on television: entertaining (pleasure, positive emotions, stress (recreation and relaxation)), aesthetic (comic emotional understanding (humor), escape from reality (escapism)), hedonic (reduction anxiety, excitement), cognitive, educational, communicative. On the example of television benefit found out that escapism is not a feature of stupidity and absence of actual-topical subjects. The fundamental approaches to clarify the nature of "television variety art" that are prevalent in oriental literature on this subject are revealed in the article. The level of the scientific development of the concept "television variety art" and its place in the artistic environment are investigated. The analysis of «television variety» give reasons for the genre and thematic basis divide it into three main groups. The first category includes monographs and popular scientific articles in which variety on television is regarded as the provenance of TV. The second group is a works in which the authors tried to prove that the TV variety art should be seen as «synthetic genre of equal partnership variety and television». The third group is the work, which proved that «TV variety art» is a kind of variety art, which uses figurativeexpressive means of TV, while maintaining their independence. It states that television variety art can not claim the title of a separate, independent art phenomenon, and TV is the only mediator, messengers in partnership with a variety art. It is seen that there are many conceptual principles in the literature to clarify what constitutes a «television variety art»

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