Theory. The terms for the dramaturgy of U. Runtu

THE ART CRITICISM: THE LITERARY CRITICISM,  THE THEATRE CRITICISM. 
A NEW SCIENTIFIC TERMS


 THE NEOTRANSCENDENTAL THEATRE: URI MATTHEW RUNTU.
(THE MULTIVARIATE DRAMATIC ART OF THE NEW MILLENIUM.)

Neotranscendental [theatre] (from greek: “neos” - “new”; from latin: ”transcendens (transcendentis)” - “something overflowing the limits”, ”transcendentalis” - “something exceeding the feeling indications”, “transcendere” - “to cross over,  to step over”) - this is an unique phenomenon in the world culture of the end XX - of the first half XXI centuries, an absolutely new and a very perspective direction in the development of the modern world theatre. The neotranscendental theatre was born for the first time in Australia, his founder is the most well-known modern english-french-russian  writer, the playwright and the journalist  Uri Matthew Runtu. The neotranscendental theatre is connected indirectly with the transcendentalism, with this philosophical, religious and literary current which formed in the 1820s - in 1830s in a New England (USA) and which presented by the works of Henry David Thoreau, Margaret Fuller, Nathaniel Hawthorne, Walt Whitman, Тheodore Parker and of other outstanding american classical writers of the world literature. In particular, in the neotranscendental theatre there is an idea of the intuitive comprehension of a macrocosm in a microcosm - in the same way as in to the transcendental literature. However, such feature of the vision of the space, whose part reflects a whole and vice versa (where the person is an universe in a miniature), such feature is inherent almost at all esoteric models of an ancient philosophy, just as of a modern philosophy. However, unlike the transcendental literature,  the neotranscendental theatre is shown by some symbiosis of an aprioristic fixations (this is about our ideas concerning an surrounding spaces, as well as about our imaginations concerning an events and a facts located beyond the limits of our sensual knowledge - at a metaphysical level) and of an evidences a posteriori (this is concerning a real acknowledgements of the current events and the historic facts - at an empirical level), besides, these symbiotic relations are realized out on mutual principles. Therefore, in very natural and logic way, the historical and cultural traditions and the creative innovations were synthesised and have intertwined in a dramaturgic palette of the neotranscendental theatre: on the one hand, a traditional culture and a classical art and, on the other hand, a modernism (a rupture with the previous  historical experience and the art traditions; the end of the 19th century - the beginning of the 20th century), an avant-gardism (an experimental researches for production of absolutely new forms of a creative works; all first half of the 20th century - this was till 70th years) and a postmodernism (a situation in the society and the culture in the conditions of a mass consumption and an information surplus; the second half of the 20th century - the beginning of the 21th century). A various genres, aspects and forms of a various types of the arts were installed comfortably,  co-exist peacefully and co-operate  actively with each other in the framework of the neotranscendental theatre: the theatre, the cinema and the TV; the music, the dance and the pantomime; the tragedy and the comedy, the drama and the melodrama; a mysteries and a buffooneries; a masks and a marionettes, a mock-ups and a portraits and a great deal of another. A numerous receptions and means of the neotranscendental theatre are directed on occurrence of an indubitable insights and on achievement  of a steady catharsis by the spectators.

Multivariate [dramatic art] (du latin: “multum” - “a great deal, a considerable quantity”, ”multus” - “numerous, vast”; ”variatus“, as well “varius” - “diverse, multidimensional”) - this is a terminological synonym for the neotranscendental theatre, this synonymic term specifies a polysynthetic character of the narrative organisation of the text in a literary & dramatic work for the scenic production. At first, the synthesis of any paradigmatic unities (this is an aesthetic conceptions, a theories of the culturology, this is a creative methods, a postulates of the axiology, this is a literary and theatrical standards), just as the synthesis of a various genres, of a styles and of a ways to provide an idea of this or of that  for the art is are fulfilled in the multivariate dramaturgy, in other words, all this is a methodological incorporation in the structure of a narrative paradigm of the literary & dramatic text. The multivariate space is characterized by brightly expressed paratextual content, and it allows the author, disappearing by means of the paratext, to define indirectly its personal relation to an events and to a facts and thus not to thrust one's opinion to its readers and to its spectators. With an analogous purpose the commenting metatextual content and an encyclopaedic hypertextual content are contributed for the multivariate  narration. It is also the verbal, visual and auditory intertextuality, that gives  a corresponding emotional expression for the narrative and allows the author  not only  indirectly to communicate  its cultural and semiotic preferences, but also to establish a certain latent, transcendental contacts with the readers and the spectators. Inside of the multivariate paradigm are observed permanent transgressions of the fixed conditions incorporated before, i.e. the stereotypes of this or of that genre, style, thesaurus, of a composition etc. of the traditional text designing. However these transgressive processes do not carry a pejorative character, but, on the contrary, they allow the author to project, to model, to approve and to introduce an essentially new dramaturgic approaches in the literature and a theatrical art. The known english-french-russian writer, the playwright and the journalist, the academician of the International Informatization Academy Uri Matthew Runtu (Australia), became the pioneer and the professional developer of the multivariate designing of the dramaturgic text.