Pataphisics poetic of A. Jarry

The article deals with the artistic method of the French writer A. Jarry -the great reformer of the theater, the creator of the theory of “pataphysics”. In the theory of pataphisic by Jarry has game approach to conventions shematic literary topos. The basic thesis - the exception is the rule - is a paradox, which destroyed ordinary consciousness. Style dominant of Jarrys dramaturgy is an ironic parody of all previous and modern culture. The author demonstrates us that Jarry’s “pataphysics” reveals the conditional nature of theatrical action, affirms the universality of the actors plastic, poetics of Puppet Theater, introduces the principle of judgment, destroying the illusion of like-hood. Jarry tried to force the viewer to think and not to empathize. The poetic of puppet theater destroyed the psychological and social characteristics. The conventionality of the character was emphasized the idea of an abstract image. The dominant feature of the Jarrys languge is the grotesque, shocking the viewer. Innovative, marginal ideas of Jarry are chanching the correlation of phenomena in the literary process. The theory of pataphisics is determined by the style of contrasts, coexisting on equal rights: existential and everyday, comic and tragic, fantastic and real. The reception of this theory is realized by the language, in which the word has many significantes, polysemie, elastic, The buffonade’s and shocking’s theater of Jarry is distinguished by the universalization of images and ambiguity of reading. In the play “The King Ubu” the grotesque image of the evil cowardly Ubu became a symbolic embodiment of the typology of the social laws of the 20th century and from “his huge belly” was born the entire European avan-guard theater - from surrealism to S. Becket and E. Ionesco.