ZERO IDENTITY DRAMA: THE PHENOMENOLOGY OF THE SUPERFLUOUS PERSON IN RUSSIAN CINEMA

The article examines the phenomenon of Russian film drama, which is expressed in violation of the traditional principles of action development. The script structure of films about the superfluous person that appeared in the era of late stagnation in the late 1970s - mid-1980s lacks the usual set of elements of the hero's path, the actions he takes or, according to V. Propp, functions that open up the opportunity for this hero, after passing tests of initiation, to change essentially. Numerous actions and conflicts of the heroes of such films as Vacation in September by V. Melnichenko or Flights in a dream and in reality by R. Balayan, evoking an emotional response from the viewer, do not lead to the transformation of the inner world of the hero, and at the level of drama, to the construction action, character arch development. The heirs of the superfluous people of the Russian classical literature, possessing powerful reflection, are not able to accept social values, identify with the categories of the group, or shape their own models of identity. This position of being outside, defining the dramatic paradox of films about the superfluous people (the emotional involvement of the viewer in the absence of an event canvas, narrative as a logically connected set of actions leading the hero to gain a new status through overcoming obstacles) is explained by the zero level of identity. A look at the personality structure of the superfluous people through the prism of E. Erickson's theory of ego-identity formation and our theory of identity development (V.A. Kolotaev, E.V. Ulybina) allows us to say that the heroes have not gone through any of the stages of identity evolution. They have not gone through any of the normative crises of the life cycle history, and it is precisely the zero degree of identity that determines the paradoxical form of the hero's trajectory, the path without actions.