КРЕАТИВНІ ВИМІРИ СЦЕНІЧНОГО СИНТЕЗУ АВАНГАРДУ
CREATIVE MEASUREMENTS OF AVANT-GARDE STAGE SYNTHESIS

Summary/Abstract: The purpose of the article is to determine the creative potential of the avant-garde as a stage synthesis of art. The methodology of the article is based on the use of comparative and systems approaches, cultural and historical reconstruction of forms of symbolic interaction in art schools of the early twentieth century. The scientific novelty lies in elucidating the features of avant-garde creativity as a certain type of artistic modeling of the world. Conclusions. The avant-garde tendencies of shaping carried a creative impulse, which can be called creative. Creation, according to S. Neretina's definition, is a transition from nonbeing to being, in contrast to creativity, the transition from being to being, or degradation, to decline - the transition from being to non-being [6, p.8]. However, the vanguard immediately made its adjustments. Traditional creative, known since the Middle Ages, when God created the world from nothingness, undergoes a threefold transformation: the transition from nothingness to being through creativity marks the transition to nothingness. Postmodernism subsequently cuts off the first stage (the transition from nothingness to being). Creativity remains at the level of transgression, destruction, decomposition, and deconstruction. The avant-garde sharpened the struggle of the worlds and quietly left the stage of the competition with totalitarian culture. The avant-garde fashion is purely laboratory, scenic, and the scene is individually sharpened to a method that cannot be embraced only by constructivism, antipsychologism as a particular model of the alien world. It is a world that is built above the world, or rather, under the world. The avant-garde is a pre-systemic cultural phenomenon. The system comes later with Postmodernism when the image is aestheticized and cultivated as a perfect model, which lends itself to irony, self-irony, and game for the sake of play. The irony was not in the forefront; there was life for the sake of life, there was a total spectacle of play as a self-perfection of being, which sees itself on the stage of earth and sky.

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