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 ×ÅÐÍÎÌ ÊÂÀÄÐÀÒÅ DTA

Íàòàëüÿ Ç À Ë È Ï ß Ò Ñ Ê È Õ

 çåìíîì ìèðå íè÷åãî íå èñ÷åçàåò ëþáîé ýëåìåíò, ëþáàÿ ýíåðãèÿ âî ÷òî-òî òðàíñôîðìèðóåòñÿ,

âñå ïîñòðîåíî íà íåïðåðûâíûõ ìåòàìîðôîçàõ – ðîæäåíèå, èçìåíåíèå, ðàçðóøåíèå, óíè÷òîæåíèå, âîçðîæäåíèå.

Àðèñòîòåëü ñ÷èòàë îñíîâíûìè ýëåìåíòàìè çåìëþ,

âîçäóõ, âîäó, îãîíü. Ïÿòûì, íàèáîëåå ñîâåðøåííûì ýëåìåíòîì, îí ñ÷èòàë «ýôèð» (íåêóþ ãèïîòåòè÷åñêóþ ñðåäó).

íî ÷åðòåæíèêàì íå èíòåðåñíû ñòîëü ïðîñòûå ãåîìåò-ðè÷åñêèå ôîðìû. Ïîäîáíóþ êàðòèíó ìîã áû íàðèñîâàòü äóøåâíîáîëüíîé — äà âîò íå íàðèñîâàë, à åñëè áû íà-ðèñîâàë, âðÿä ëè ó íåå áûëè áû ìàëåéøèå øàíñû ïî-ïàñòü íà âûñòàâêó â íóæíîå âðåìÿ è â íóæíîì ìåñòå.

Ïðîäåëàâ ýòó ïðîñòåéøóþ îïåðàöèþ, Ìàëåâè÷ ñòàë àâòîðîì ñàìîé çíàìåíèòîé, ñàìîé çàãàäî÷íîé, ñàìîé ïó-ãàþùåé êàðòèíû íà ñâåòå — «×åðíîãî êâàäðàòà». Íå-ñëîæíûì äâèæåíèåì êèñòè îí ðàç è íàâñåãäà ïðîâåë íåïåðåõîäèìóþ ÷åðòó, îáîçíà÷èë ïðîïàñòü ìåæäó ñòà-ðûì èñêóññòâîì è íîâûì, ìåæäó ÷åëîâåêîì è åãî òåíüþ, ìåæäó ðîçîé è ãðîáîì, ìåæäó æèçíüþ è ñìåðòüþ, ìåæ-äó Áîãîì è Äüÿâîëîì. Ïî åãî ñîáñòâåííûì ñëîâàì, îí

«ñâåë âñå â íóëü». Íóëü ïî÷åìó-òî îêàçàëñÿ êâàäðàò-íûì, è ýòî ïðîñòîå îòêðûòèå — îäíî èç ñàìûõ ñòðàø-íûõ ñîáûòèé â èñêóññòâå çà âñþ èñòîðèþ åãî ñóùåñòâî-âàíèÿ».

Âñå ñïåêòàêëè ñòàâÿòñÿ â ×åðíîì êâàäðàòå. Îí ñòè-ðàåò ãðàíü ìåæäó ôàíòàñìàãîðèåé ïîñòàíîâîê è ðåàëü-íîé æèçíüþ. Ñòîïðîöåíòíàÿ ôàíòàçèÿ, è â òîæå âðåìÿ ñòîïðîöåíòíàÿ ðåàëüíîñòü... Ó Òàðêîâñêîãî åñòü ãå-íèàëüíàÿ ôðàçà: «Èñêóññòâî – íà ãðàíè ðåàëüíîãî».

Èòàê, íà ãðàíè ðåàëüíîãî â ×åðíîì êâàäðàòå.

«Deutsch, als Fremd»

(«Íåìåöêèé êàê èíîñòðàííûé», ðåæ. Ôðåäåðèêå Ôåëüáåê ïî ïüåñå Àðíû Àëåé, Ëèòâà)

 êâàäðàòå ñöåíû êâàäðàò. ×åòûðå æåíùèíû, ÷åòû-ðå áåðëèíñêèå ýìèãðàíòêè (Íàòàøà èç Óêðàèíû, Ìåãàí èç Íîâîé Çåëàíäèè, Àìè èç ÑØÀ, Ôðàíñóàçà èç Ôðàí-öèè, Õàéíè èç Ôèíëÿíäèè). Æèâóò â îäíîé êîìíàòêå, ïûòàþòñÿ íàéòè íåìíîãî ñ÷àñòüÿ â ïðîñòðàíñòâå Áåð-ëèíà. Îíè ïûòàþòñÿ ïîãîâîðèòü, îáìåíÿòüñÿ íåêîòîðû-ìè ìûñëÿíåêîòîðû-ìè (êîòîðûå â áîëüøèíñòâå ñâîåì âåñüìà ñòå-ðåîòèïíû) î íåìöàõ, íåêîòîðûìè âïå÷àòëåíèÿìè î íå-ìåöêîé ïîâñåäíåâíîñòè. Ðàçãîâîð âðåìÿ îò âðåìåíè îòâåðäåâàåò – îíè ñíîâà ïåðåêëþ÷àþòñÿ íà ñâîè äåëà (âÿæóò, ñïÿò, ïðîñòî ñèäÿò è ïðîñòî ñìîòðÿò â ïóñòîòó).

Âîçíèêàåò íåêàÿ îò÷óæäåííîñòü. Êàæäàÿ â ñâîé êàïñóëå.

Íî ïîòîì interêóëüòóðíûé äèàëîã âîçðîæäàåòñÿ âíîâü.

Îíè âûõîäÿò èç ñâîèõ êîêîíîâ. Ðîæäàþòñÿ óäèâèòåëü-íûå ñëîâà, êîìáèíàöèè èç ôðàç öåíòðàëüíîé ãëàãîëîì-ñâÿçêîé êîòîðûõ ñòàíîâèòñÿ ãëàãîë abwarten (æäàòü, ïåðåæäàòü, îáîæäàòü)…

Õàéíè áîëüøå íå õî÷åò æäàòü. Îíà õî÷åò âûéòè çà-ìóæ çà íåìöà è ñäåëàòü êàðüåðó. Îíà õî÷åò ñåêñà.

Äëÿ Íàòàøè ñàìà ôðàçà «íåìåöêèé ëþáîâíèê» – ñàìûé íàñòîÿùèé îêñþìîðîí. Äëÿ íåå íåìåöêèå

ìóæ-÷èíû äåïðåññèâíû, ñòåðèëüíû, íå óìåþò äåëàòü êîìï-ëèìåíòû. «Íåìåöêèå æåíùèíû ñäåëàëè èç ñâîèõ

ìóæ-÷èí áåñïîëûé ñðåäíèé ðîä».

Î÷åíü íåîæèäàííî è â òîæå âðåìÿ êàê ñàìî ñîáîé ðàçóìåþùååñÿ êàæäàÿ ïûòàåòñÿ ñïåòü ñâîé íàöèî-íàëüíûé ãèìí… Â âîçäóõå êâàäðàòà ïàõëî ðîäèíîé.

 âîçäóõå êâàäðàòà âèòàë âîçäóõ ÷óæáèíû.

«Lady Milford aus Almaty»

(«Ëåäè Ìèëüôîðä èç Àëìàòû», ðåæ. Áîëàò Àòàáàåâ) Ýòî ðåàëüíàÿ èñòîðèÿ àêòðèñû DTA.

Îíà ýìèãðèðîâàëà â Ãåðìàíèþ, îäíàêî íàéòè òàì ñâîå ìåñòî åé íå óäàëîñü. «Âûåõàëà… íî íèêóäà íå ïðèåõàëà…» È ñêîëüêî òàì óæå òàêèõ ÷óæèõ, íåíóæíûõ, íåâîçìîæíûõ, íåïîíÿòûõ, òâîð÷åñêèõ è íå òîëüêî

òâîð-÷åñêèõ ëþäåé. Âîò îïÿòü òîò ñàìûé äóøåâíûé íåóþò.

Êàê æå òàêîå ñòàëî âîçìîæíî: ïðîñâåùåííûé XXI âåê, ìóëüòèêóëüòóðíûé ìèð, ãëîáàëüíàÿ ñåòü Èíòåðíåò, CNN, Deutsche Welle, êâàðêè, ïëàçìà, òàéíû ÄÍÊ è êîñìîñà, à

÷åëîâå÷åñòâî íå ñòàëî íè òîëåðàíòíåå, íè ãóìàííåå, íè óìíåå, àäàïòèðîâàòüñÿ è ñîöèàëèçèðîâàòüñÿ â îáùåñòâå âñå òàêæå ñëîæíî. ×åëîâåê ãîòîâ ëåòåòü íà Ëóíó, ñòîë-êíóòüñÿ òàì ñ äðóãèìè ãèïîòåòè÷åñêèìè öèâèëèçàöèÿìè, îäíàêî ñ ëþäüìè åìó ãîâîðèòü òðóäíåå…

«Kaspar»

 1968 ãîäó îäèí èç ñàìûõ ìÿòåæíûõ àâòîðîâ XX âåêà, îäíîâðåìåííî ïðîäóêò è îòðàæåíèå ðåâîëþöèîí-íîãî ñòóäåí÷åñêîãî äâèæåíèÿ, íàçâàâøèé ñåáÿ îáèòàòå-ëåì Áàøíè èç ñëîíîâîé êîñòè, êîòîðîãî â ñâîþ î÷åðåäü êðèòèêè íàçâàëè «èäåîëîãè÷åñêèì ìîíñòðîì», ïðåäà-òåëåì çàïàäíûõ öåííîñòåé, ìàñòåðîì øîó, Beat-àâòî-ðîì – Ïåòåð Õàíäêå – íàïèñàë ïüåñó «Êàñïàð». Êàñïàð (åãî èñòîðè÷åñêèé ïðîòîòèï – Êàñïàð Õàóçåí, ïðîæèâ-øèé 20 ëåò â ïîëíîé èçîëÿöèè) – ýòî ìàëü÷èê, êîòîðîãî âîñïèòàëè âîëêè. Îäíàêî «÷åëîâåê â êîíöå êîíöîâ óõî-äèò ê ÷åëîâåêó, õîòÿ äæóíãëè åãî íå âûãîíÿþò» – òàêîâà óæ íàòóðà ÷åëîâå÷åñêàÿ ïî ñëîâàì Êàà («Ìàóãëè», Ðå-äüÿðä Êèïëèíã) è, âîéäÿ â îáùåñòâî, èñïûòàâ íåèñ÷èñ-ëèìûå ñòðàäàíèÿ, ïûòàÿñü ñîöèàëèçèðîâàòüñÿ â íåì (Áàëó: «Êòî ñòàíåò ñïîðèòü ñ ÷åëîâåêîì è åãî îáû÷àÿ-ìè»), ãîâîðèòü íà èõ ÿçûêå â ïðÿìîì è ïåðåíîñíîì ñìûñ-ëå, îí îêàçûâàåòñÿ â ïñèõèàòðè÷åñêîé áîëüíèöå. Ýòî ïðîèñõîäèò ïîñëå òîãî, êàê ó÷åíûå èñïîëüçîâàëè åãî â

ñâîèõ íàó÷íûõ èññëåäîâàòåëüñêèõ öåëÿõ. Êëþ÷åâîå ïî-íÿòèå â ïðîöåññå ñîöèàëèçàöèè Êàñïàðà – ÿçûê, îñíî-âîé êîòîðîãî ÿâëÿåòñÿ ñîöèàëüíàÿ ãðàììàòèêà. ßçûê ïî Õàíäêå – ýòî íå îòðàæåíèå äåéñòâèòåëüíîñòè, ýòî ñàìà äåéñòâèòåëüíîñòü, ìèð – ýòî îòíþäü íå íå÷òî îòäåëüíî ñîçäàííîå îò ñëîâà, íî íàõîäÿùååñÿ â ñàìîì ñëîâå.

È Êàñïàð íà÷èíàåò èçó÷àòü ÿçûê, ÿçûê îáùåñòâà, êîòî-ðûé, ê ñîæàëåíèþ, óòðàòèë ñìûñë; ñëîâà è ïðåäëîæå-íèÿ ïðåâðàòèëèñü â ôîðìàëüíóþ ñòåðåîòèïíóþ óñëîâ-íîñòü, è ÿçûê òåïåðü íåñåò òîëüêî ðàçðóøèòåëüíóþ ñèëó.

È ñèëà ýòà îãðîìíà, îíà ìîæåò áûòü äàæå ñèëüíåå, ÷åì ñàì ÷åëîâåê, è îíà ìàíèïóëèðóåò ñíà÷àëà èì, çàòåì âñåì îáùåñòâîì, åãî ìûøëåíèåì, åãî äåéñòâèÿìè. Êàñïàð ó÷èòñÿ ãîâîðèòü, íå ïîíèìàÿ ñìûñë, êîòîðîãî, â ñóùíî-ñòè, íåò.

 öåíòðå ×åðíîãî êâàäðàòà ãëàâíûé ãåðîé – Êàñ-ïàð, ìóæ÷èíà, âîñïèòàííûé â ïóñòûíå îëåíåì, ïîñëå ñìåðòè êîòîðîãî îí ïðèõîäèò â îáùåñòâî ëþäåé, çàêî-íû êîòîðîãî åìó ïðåäñòîÿëî ïîñòè÷ü: «ß õî÷ó ñòàòü òà-êèì, êàêèì îäíàæäû áûë äðóãîé». («Ich will ein solcher werden, wie einmal ein ànderer gewesen ist»). Ïðîöåññ ñîöèàëèçàöèè ñîïðîâîæäàåòñÿ êîëîññàëüíûìè äóøåâ-íûìè è òåëåñäóøåâ-íûìè ñòðàäàíèÿìè.

×åðíûé êâàäðàò – îòñóòñòâèå ñöåíû – äàåò ïîíÿòü:

Êàñïàð – ñðåäè íàñ. Ýòî äðàìà íàøåãî îáùåñòâà.

Èñêóññòâî DTA – íà ãðàíè ðåàëüíîãî ïðîäîëæàåòñÿ âîò óæå 26 ëåò. Îäíîâðåìåííî è ìíîãî è íå òàê ìíîãî.

Ìíîãî ëþäåé óæå òàì ñëóæèëî. Ñëîæíî ãîâîðèòü îá ýòîì òåàòðå, î åãî êîíöåïöèè. Êàæäûé ñïåêòàêëü íåñåò ñâîå ñîáñòâåííîå ìèðî-ïðåäñòàâëåíèå, ìèðî-÷óâñòâîâàíèå.

Î÷åíü ìíîãî õàîòè÷íîãî ïîêà åùå. Çäåñü ïî÷åìó-òî âñïîìèíàåòñÿ Ô.Íèöøå «Íóæíî íîñèòü â ñåáå õàîñ, ÷òî-áû äàòü ðîæäåíèå çâåçäå».

Òåàòð èùåò ñâîé ïóòü, âñòðå÷àÿ íîâûõ àêòåðîâ, ðå-æèññåðîâ, äðàìàòóðãîâ, êàêîå-òî ðàññòîÿíèå îíè èäóò âìåñòå, ïîòîì ïîíèìàþò, ÷òî ïóòè èõ ðàñõîäÿòñÿ, íà îä-íîì èç ïåðåêðåñòêîâ, ïðîâîæàåò èõ, èäåò äàëüøå ïî êðè-âûì, óõàáèñòûì óëèöàì, èíîãäà îí ì÷èòñÿ ïî øèðîêèì

ñâåðõñêîðîñòíûì ìàãèñòðàëÿì. ×òî-òî ìèñòè÷åñêîå â íåì åñòü. Íåîáûêíîâåííàÿ ýíåðãåòèêà. Íåñìîòðÿ íè íà

÷òî îí ñóùåñòâóåò.  òî âðåìÿ, êàê âíóòðè îí î÷åíü áî-ëåí. Ëþäè, êîòîðûå â íåì ðàáîòàþò, î÷åíü ðàçíûå è ó êàæäîãî ñâîÿ ïðàâäà. Ñâîé êîììåíòàðèé. Ñâîÿ ïåðñïåê-òèâà. Ñâîÿ èãðà.  êîíöå êîíöîâ, ñâîé ×åðíûé êâàäðàò.

À òåàòð, òåàòð íå äâèãàåò íèêòî. Îí êàê-òî ñàì ïî ñåáå è ñàì â ñåáå. Âîò â ýòîì- òî è åñòü, íàâåðíîå, ñóòü ×åðíî-ãî êâàäðàòà DTA.

Õîòåëîñü îòîéòè îò àêàäåìè÷íîñòè, îáñóæäåíèÿ ôèíàíñîâûõ, àäìèíèñòðàòèâíûõ ïðîáëåì (âñå-òàêè äëÿ ýòîãî íóæíà óæå äðóãàÿ àóäèòîðèÿ, äðóãîé äèàëîã íà äðóãîì óðîâíå).

 ýòîé ñòàòüå áûë ñîçíàòåëüíî ñäåëàí íåêèé èìï-ðåññèîíèñòñêèé ýñêèç, áûëè âñåãî ëèøü íàëîæåíû ìàç-êè, è áûëà îñòàâëåíà ñâîáîäà ìûñëè è ýêñïðåññèè ÷è-òàòåëþ, êîòîðûé ìîæåò áûòü çàãëÿíåò êîãäà-íèáóäü â

÷åðíûé êâàäðàò Íåìåöêîãî òåàòðà Àëìàòû.

Êàñïàð. Ôðàãìåíò ñïåêòàêëÿ Ò å à ò ð

Íà ïðîòÿæåíèè ïîñëåäíåãî äåñÿòèëåòèÿ Ôîíä

«Ñîðîñ–Êûðãûçñòàí» è äðóãèå ìåæäóíàðîäíûå îðãàíè-çàöèè ñäåëàëè áîëüøîé âêëàä â ðàçâèòèå îòå÷åñòâåí-íîé êóëüòóðû è èñêóññòâà ÷åðåç ñâîè êîíêóðñíûå ïðî-ãðàììû, íåêîòîðûå èç êîòîðûõ çàòðàãèâàëè è âîïðîñû êóëüòóðíîé ïîëèòèêè.

 2005 ãîäó ïðè ïîääåðæêå Ôîíäà â ðàìêàõ ñåòå-âîé ïðîãðàììû «Êóëüòóðà è èñêóññòâî» áûëî ïðîâåäå-íî èññëåäîâàíèå «Êîìïåíäèóì êóëüòóðïðîâåäå-íîé ïîëèòèêè».

×òî òàêîå Êîìïåíäèóì?

Êîìïåíäèóì – ýòî òðàíñíàöèîíàëüíàÿ ïðîãðàììà, ñîçäàííàÿ Êóëüòóðíûì êîìèòåòîì è Ñåêðåòàðèàòîì Ñî-âåòà Åâðîïû, îíà äåéñòâóåò ñ 1998 ãîäà â ôîðìå ñîâ-ìåñòíîãî ïðåäïðèÿòèÿ ñ Åâðîïåéñêèì èíñòèòóòîì ñðàâ-íèòåëüíûõ èññëåäîâàíèé â îáëàñòè êóëüòóðû (European Institute for Comparative Cultural Research – ERICarts).

Êîìïåíäèóì êóëüòóðíîé ïîëèòèêè è òåíäåíöèé â Åâðîïå ÿâëÿåòñÿ óíèêàëüíîé ñîâðåìåííîé è âñåñòî-ðîííåé ñåòåâîé ñèñòåìîé èíôîðìàöèè è ìîíèòîðèíãà êóëüòóðíûõ ñîáûòèé â Åâðîïå, îáåñïå÷èâàþùèé ëåãêèé äîñòóï ê äàííûì, ôàêòàì, ñðàâíåíèÿì è òåíäåíöèÿì, à òàêæå ê îáîáùåííîé èíôîðìàöèè î òåêóùèõ äåáàòàõ î íàöèîíàëüíîé êóëüòóðíîé ïîëèòèêå.  íàñòîÿùåå ìÿ â ñèñòåìó âêëþ÷åíû ïðîôèëè îêîëî 30 ñòðàí. Ñî âðå-ìåíåì âñå ãîñóäàðñòâà-ó÷àñòíèêè Åâðîïåéñêîé êóëüòóð-íîé êîíâåíöèè äîëæíû âêëþ÷èòüñÿ â ýòó ñèñòåìó, êîòî-ðàÿ ðàçðàáîòàíà äëÿ òîãî, ÷òîáû òðàíñôîðìèðîâàòüñÿ â íàñòîÿùóþ ñèñòåìó ìîíèòîðèíãà.

Êîìïåíäèóì ïðåäîñòàâëÿåò ïîëüçîâàòåëÿì èíôîð-ìàöèþ ïî òàêèì âîïðîñàì êàê ñîäåéñòâèå èäåíòè÷íî-ñòè, ìíîãîîáðàçèþ, êðåàòèâíîèäåíòè÷íî-ñòè, ó÷àñòèþ â êóëüòóðíîé æèçíè è ìåæêóëüòóðíîìó äèàëîãó, êîòîðûå îòíîñÿòñÿ ê ïðèîðèòåòàì Ñîâåòà Åâðîïû è ãîñóäàðñòâ-÷ëåíîâ. Ñî-äåðæàíèå Êîìïåíäèóìà îòðàæàåò èñòîðè÷åñêîå ðàçâè-òèå, ïðåäñòàâëÿåò ñòðóêòóðó, ïðàâîâóþ áàçó è ïðîäîë-æàþùèåñÿ äåáàòû ïî êóëüòóðíîé ïîëèòèêå è òåíäåí-öèÿì. Ïðîôèëè ñòðàí, âêëþ÷åííûå â Êîìïåíäèóì, ñî-ñòàâëÿþòñÿ è îáíîâëÿþòñÿ, â îñíîâíîì, íåçàâèñèìûìè ýêñïåðòàìè ïî êóëüòóðíîé ïîëèòèêå, èõ íå ñëåäóåò ðàñ-ñìàòðèâàòü êàê îôèöèàëüíûå äîêóìåíòû ñîîòâåòñòâóþ-ùèõ ìèíèñòåðñòâ. Îäíàêî â íèõ íåîáõîäèìî âíîñèòü

ÂÐÅÌß ÄÅËÀÒÜ ÊÓËÜÒÓÐÍÓÞ ÏÎËÈÒÈÊÓ Â ÊÛÐÃÛÇÑÒÀÍÅ

ñâåäåíèÿ, ïîëó÷åííûå èç ãîñóäàðñòâåííûõ èñòî÷íèêîâ (ìèíèñòåðñòâ), îñîáåííî êîãäà ïðåäñòàâëÿåòñÿ è îáíîâ-ëÿåòñÿ èíôîðìàöèÿ î ñòðóêòóðàõ è íàïðàâëåíèÿõ äåÿ-òåëüíîñòè êóëüòóðíîé ïîëèòèêè. Ñòèëü Êîìïåíäèóìà íà-ïðàâëåí íà åãî äîñòóïíîñòü äëÿ øèðîêîé àóäèòîðèè.

Ñîâåò Åâðîïû/ERICarts, «Êîìïåíäèóì êóëüòóðíîé ïîëèòèêè è òåíäåíöèé â Åâðîïå», 2004. Ðàçìåùåí íà ñàéòå: http://www.culturalpolicies.net

 2006 ãîäó Ôîíä «Ñîðîñ–Êûðãûçñòàí» ðàçðàáîòàë ñòðàòåãèþ ðàçâèòèÿ ïðîãðàììû «Êóëüòóðíàÿ ïîëè-òèêà».

Öåëüþ ïðîãðàììû ÿâëÿåòñÿ – ñîäåéñòâèå âûðàáîò-êå è ðåàëèçàöèè êîíöåïöèè êóëüòóðíîé ïîëèòèêè Êûð-ãûçñêîé Ðåñïóáëèêè, îïðåäåëÿþùåé îðèåíòèðû ãîñóäàð-ñòâåííûõ ïðîãðàìì â ñôåðå îòå÷åñòâåííîé êóëüòóðû.

Îñíîâîé êóëüòóðíîé ïîëèòèêè, îïðåäåëÿþùåé âçàèìîîòíîøåíèÿ êóëüòóðû è âëàñòè, ÿâëÿåòñÿ óñòà-íîâëåíèå ðàìîê ïîëèòèêè, ÷åòêèõ öåëåé, îïðåäåëåíèå ðåñóðñîâ íà ïðåòâîðåíèå ïîëèòèêè â æèçíü è ïîñëå-äóþùàÿ ðåàëèçàöèÿ ïîñòàâëåííûõ çàäà÷ ñèëàìè ñàìî-ãî êóëüòóðíîñàìî-ãî ñîîáùåñòâà, îáúåäèíÿþùåñàìî-ãî ïðîôåñ-ñèîíàëîâ èëè ðÿäîâûõ ãðàæäàí.

 òå÷åíèå 2-õ áëèæàéøèõ ëåò ïðîãðàììà «Êóëüòóð-íàÿ ïîëèòèêà» ñêîíöåíòðèðóåò ñâîè óñèëèÿ íà ïîìîùè èíñòèòóòàì ãðàæäàíñêîãî îáùåñòâà, ïðàâèòåëüñòâó, áèç-íåñó â âûðàáîòêå ïðîãðàììíûõ äîêóìåíòîâ ðàçâèòèÿ êóëüòóðíîé ñôåðû, îïèðàÿñü íà íàðàáîòàííûé îïûò, ïàðòíåðñêèå ñâÿçè è ýêñïåðòíûå ðåñóðñû.

Ïðè ðåàëèçàöèè ïðîåêòà áóäåò èñïîëüçîâàí îïûò ôîðìèðîâàíèÿ êóëüòóðíîé ïîëèòèêè åâðîïåéñêèõ ñòðàí, Ðîññèè è äðóãèõ ñòðàí.

Íàïðàâëåíèÿ äåÿòåëüíîñòè ïðîãðàììû:

1. Îðãàíèçàöèÿ ïðîöåññà ðàçðàáîòêè è ðåàëèçà-öèè êîíöåïðåàëèçà-öèè êóëüòóðíîé ïîëèòèêè .

Íàïðàâëåíèå âêëþ÷àåò â ñåáÿ ïðîâåäåíèå àíàëèçà òåêóùåé ñèòóàöèè â ñôåðå êóëüòóðû è èñêóññòâà â

Êûð-ãûçñòàíå ñèëàìè ìåñòíûõ è ìåæäóíàðîäíûõ ýêñïåðòîâ.

Ïîäãîòîâêó ïðåäëîæåíèé è ðåêîìåíäàöèé äëÿ ïðàâè-òåëüñòâà ïî èçìåíåíèþ ñèòóàöèè. Âûÿâëåíèå âñåõ ãðóïï èíòåðåñîâ è ïðèâëå÷åíèå èõ ê ïðîöåññó îáñóæäåíèÿ.

Îðãàíèçàöèþ ôîêóñíûõ ãðóïï è êðóãëûõ ñòîëîâ ïî îá-ñóæäåíèþ ðåçóëüòàòîâ àíàëèçà è âûáîðó âàðèàíòîâ ðåàëèçàöèè êîíöåïöèè è äðóãèõ ïðîãðàììíûõ äîêó-ìåíòîâ.

Âîâëå÷åíèå ñðåäñòâ ìàññîâîé èíôîðìàöèè â ïðî-öåññ îáñóæäåíèé äëÿ îñâåùåíèÿ, êàê ñàìîãî ïðîïðî-öåññà, òàê è ðåçóëüòàòîâ äåáàòîâ, êîòîðûå áóäóò èìåòü çíà÷å-íèå äëÿ øèðîêîãî êðóãà íàñåëåíèÿ ðåñïóáëèêè.

2. Òåõíè÷åñêàÿ ïîääåðæêà ïðîöåññà âîçíèêíîâå-íèÿ ñóáúåêòîâ êóëüòóðíîé ïîëèòèêè â Êûðãûç-ñòàíå.

 õîäå ðåàëèçàöèè äàííîãî íàïðàâëåíèÿ áóäóò îðãà-íèçîâàíû òðåíèíãè è ñåìèíàðû äëÿ ÍÏÎ, ðàáîòàþùèõ â ñôåðå êóëüòóðû, ïðîôåññèîíàëüíûõ àññîöèàöèé ðàáîò-íèêîâ êóëüòóðû, òâîð÷åñêèõ ñîþçîâ, ãîñóäàðñòâåííûõ ó÷ðåæäåíèé êóëüòóðû, îòâåòñòâåííûõ çà ðàçâèòèå äàí-íîãî ñåêòîðà â ðåñïóáëèêå, áèçíåñ êîìïàíèé, çàèíòå-ðåñîâàííûõ â ðàçâèòèè áèçíåñà â îòðàñëè.

Îæèäàåìûå ðåçóëüòàòû

• Âûðàáîòêà êîíöåïöèè êóëüòóðíîé ïîëèòèêè â ÊÐ è äðóãèõ ïðîãðàììíûõ äîêóìåíòîâ, ñîäåéñòâóþ-ùèõ ïðîöåññó ðåôîðìèðîâàíèÿ ñôåðû êóëüòóðû è èñêóññòâà.

• Îðãàíèçàöèÿ ïðîöåññà øèðîêèõ îáùåñòâåííûõ äèñêóññèé ïî ïðîáëåìàì ñåêòîðà.

• Âîâëå÷åíèå âñåõ ãðóïï èíòåðåñîâ â ïðîöåññ ðå-ôîðìèðîâàíèÿ ñåêòîðà

• Ïðèíÿòèå íîðìàòèâíûõ àêòîâ, îáåñïå÷èâàþùèõ ïðîöåññ ðåôîðìèðîâàíèÿ â ñôåðå êóëüòóðû è èñ-êóññòâà

• Ðàçâèòèå êóëüòóðû è èñêóññòâà â ÊÐ êàê èíäóñò-ðèè, îñíîâàííîé íà ðûíî÷íûõ îòíîøåíèÿõ Ê îñóùåñòâëåíèþ ïîñòàâëåííûõ çàäà÷ Ôîíä ïðèãëà-øàåò ê ñîòðóäíè÷åñòâó:

• ÍÏÎ, ðàáîòàþùèå â ñôåðå êóëüòóðû è èñêóññòâà

• Ïðîôåññèîíàëüíûå Àññîöèàöèè

• Ãîñóäàðñòâåííûå ó÷ðåæäåíèÿ êóëüòóðû è èñêóñ-ñòâà

• Ïðàâèòåëüñòâî ÊÐ

• Äåïóòàòîâ ÆÊ ÊÐ

• Íåçàâèñèìûõ ýêñïåðòîâ

• Ïðåäñòàâèòåëåé ÌÑÓ(?)

• Áèçíåñ ñòðóêòóðû è ìåöåíàòîâ

• Ìåæäóíàðîäíûå îðãàíèçàöèè, ïîääåðæèâàþùèå ñôåðó êóëüòóðû

• Îáðàçîâàòåëüíûå ó÷ðåæäåíèÿ â ñôåðå êóëüòóðû

• Òóðèñòè÷åñêèå àãåíòñòâà

• Ðàçëè÷íûå ìèíèñòåðñòâà

Òîëüêî ïðè óñëîâèè îáúåäèíåíèÿ âñåõ çàèíòåðåñî-âàííûõ ñòîðîí è èñïîëüçîâàíèÿ âñåõ ñâîèõ âîçìîæíî-ñòåé è ïåðåäîâîãî îïûòà Åâðîïåéñêèõ ñòðàí â ñôåðå êóëüòóðíîé ïîëèòèêè, ìû ñìîæåì îñóùåñòâèòü ïîñòàâ-ëåííûå çàäà÷è.

Àëìàêàí Í À É Ç À Á Å Ê Î Â À , êîîðäèíàòîð êóëüòóðíûõ ïðîãðàìì Ôîíäà «Ñîðîñ–Êûðãûçñòàí»

È í ô î ð ì à ö è î í í û é á ë î ê

Alexander J U M A E V

Where the Caravan is Shuffling to: The Central Asian Culture is Searching for New Ways and Regional Identity

The author describes his vision of cultural situation in the countries of the post-soviet Central Asia, paying attention to common problems and perspectives of the Region. Some problems are described with the headings: «the culture and the power,»

«bourgeoisie,» «back to Sufism,» «ways to survive,» «between policy and economics,» «ways and directions,» «is there a way out?» In general, the author describes traditional and modern forms of exploitation and dependence of culture on not artistic (not cultural) phenomena, he also contemplates about ways of overcoming these phenomena in the region.

The main stress is made on clarification of different models of cultural development appearing in the area or thrusted from outside. The author is looking for the models which could satisfy each subject of cultural development. He also tries to put in order the chaotic cultural phenomena, existing in national cultures of Central Asia, having represented them in parallel and other interrelations.

In the end the author persistently calls for formation of new regional way of thinking by development of the concept of cultural identity of Central Asia.

Gamal B O K O N B A E V

Not a Friend, not an Enemy, Just So So

There is no need to convince people to use Russian language. Among trivial reasons for its usage are: the uniting potential of Russian language, joint information area where it is used, common Soviet past that had formed the modern concept of Central Asia.

In this situation the question about harmony of bilingual culture is belated. We should discuss peculiarities of cultural development in the period when two languages are being used in the area.

Because of lack of good scripts our cinema and theater are being developed mainly by producers. The absence of solution of the two languages «makes» artists, trying to escape complications, not to use expressive power of language as an artistic element. One can say that our art is moving to gesture and eurhythmics out of words area and clear notions.

Nowadays national languages are related to our historical past, which we must not refuse from, but for the future we need the language which is more integrated into the World culture. It is more comfortable to use the language of another state for communication in the region. In view of this, we have to overcome the inferiority complex – to consider Russian language to be a spiritual property of Russia. We must stress the idea that, as a result of golden era of Russian literature, Russia lost its monopolistic ownership for its language.

Realizing development problems which could arise, art representatives should try to develop the culture of the area in Russian. Creation of regional institutions using Russian language, we believe to be the way out in current situation.

Marat S U J U N B A E V

On Genesis of Intelligentsia in the Area (Technocrat’s Grambling)

The author analyzes problems of intelligentsia of the area.

Why intellectuals of the area attract less and less attention of the national, regional, and world community?

The notion «intelligentsia» is associated with ideas of freedom of thought, dominant influence, passions, etc. Are these notions associated with the intelligentsia of the area and honoured artists of the region? If they are not, then why?

Inclusion of the Silk Route area into globalization process moved the intellectuals of the region back to Middle ages. At the same time cultural memorials included by UNESCO into the fund of the World inheritance were created there.

Step by step the intelligentsia turned into diploma holders;

it turned away from the country, forgot its patriotism, turned to provincialism, and forgot about freedom of thought. Pop art and priesthood moved it to the back yard. The intelligentsia turned into passive philistines. Will social and moral Renaissance take place in the culture of the region? Will new Rudaki, Avitsenna, Al Farabi, Jusuph Balasagun appear in the region?

Marat S A R U L U Getting over Experience

Everything turns out a mistake, a falsehood for the mind which has not understand itself and its game of changeable ideas.

The mind is able to function effectively only in a restricted