Символният капитал на цирковите артисти във фотографията на Брус Дейвидсън: анализ на маската, костюма и жеста на „Джуджето“ през понятията на Пиер Бурдийо
The Symbolic Capital of Circus Performers in Bruce Davidson’s Photography: An Analysis of Masks, Costumes and Gestures of The Dwarf in Terms of Pierre Bourdieu

Summary/Abstract: The image of circus performers has been most interesting and dramatic until the 1950s, when they have been marginalized by the post-war culture, becoming an object of socially committed photography. In 1958, a rookie member of the Magnum photo agency, Bruce Davidson took pictures of the Clyde Beatty Circus in his series The Dwarf, which became emblematic of the subject. Davidson used the devices of photography to show the effect of the costumes, masks and gestures of his protagonist, the dwarf clown, to make him an epitome of an outsider. The psychological and social streaks intertwine, offering an opportunity for a number of various interpretations. Treated in terms of Pierre Bourdieu’s field, habitus and symbolic capital, in terms of their significance these take the place of the sets and numbers, being the personal symbolic capital of circus performers. Through it, in the field of continuous travelling, communal life ad anonymity, habitus is represented: estrangement from the value of material benefits, concealed or exaggerated emotions in communicating, the choreographed use of facial expressions, single-plane communication with the audiences, lack of comprehension of the accomplishments of an artiste.

• Details
• Contents