This article is devoted to the analysis of performative acts in modern Russian musical culture on the example of the creativity of the «Shortparis» group, to identify their originality and synthesis with the used performative practices, their representativeness. In the course of the study, the nature of the connection and subordination of the musical, lyrical and visual aspects of the group's creativity at all levels, actively using artistic techniques of performativity, was determined. The analysis of the main characteristics of the «Shortparis» group's performatism made it possible to determine the features of the use of performative acts in their performances, as well as to establish the representativeness of the performance practices used in the context of world and Russian musical cultures. The second part of the research work is devoted to the analysis of specific works of performative art by the «Shortparis» group and the identification of characteristic features of performatism in them. It was revealed that provocation by touching on painful cultural points, as well as the active recitation of binary oppositions in word and music, formed the basis of the group's performatism.
performance, theory of performatism, performative acts, musical culture, Shortparis
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