Docudrama: Mission Impossible? In Search of Answer to F. Jameson’s Thesis on “New Subjectivity”

Article

Abstract

[In Russian]

This issue is devoted to the critical observation of various discourse practices which are connected with documentary. The author analyzes the structural and esthetic strategies of the theatrical documentary projects that have general genetic roots and interprets them in the context of Jamison’s conception about the crisis of representations of globalization. 
Modern Ukrainian drama – “Twenty Years Old”, “Pork Liver”, “Diploma”, “Maidan’s Diary”, “Romeo and Juliet” – articulates the values of generations that lived in different ‘technological’ eras: those who formed as a reader of books and who can hardly be seen on Facebook; and the so-called ‘facebook-writers’ who take their predecessors mainly via the ‘eyes’ and ‘ears’ of screens and streams, appealing to their own understanding of the authenticity concept of a subjective freedom.
That is why docudrama is the way of speaking the same language with contemporaneity and an attempt to synchronize different chronotopes that define the state of ‘presence’ as Hans-Ulrich Gumbreht understands it: “new present, placed  between the locked and refusing to leave as past, becomes fast growing space of simultaneity, expanding by the present, in which the dynamic vector of historic time disappears.”