VICTIMIZATION IN THE PLAY “TERRORISM” BY PRESNYAKOV BROTHERS
The article is dedicated to the study of victimization as a destructive process, which is based on the problems of professional and role socialization, physiological characteristics and the state of the psyche of the individual, and which demonstrates the close connection between the victim and the enemy.
In the course of the research, it was established that the play “Terrorism” by Vladimir and Oleg Presnyakov focuses on a peculiar hero – a rather self-centered “innocent victim”, presented as a passive observer who acts automatically, and tries to avoid conflict.
The main reason for the construction of the “victim” image by Presnyakov brothers is the latent desire of the subject to create a favorable situation in order to achieve the goal. The victimization mechanism is associated with incorrect interpretation of events, the emersion of false motivation and the erroneous strategic goal of the character.
The work distinguishes several types of victims, such as “passionate victims”, “provocative victims”, “defensive victims”, and “ricochet victims”. It is proved that in a critical situation, the determination of the behavior of the “passionate victim” involves the deconstruction of the “enemy” image that undergoes several stages, namely actualization, “privatization”, and de-heroization. The victim’s behavior in the “defensive” type is conditioned by the internalization, while the “ricochet” type behavior is projected through the accidental appearance at a crime scene, material damage, severe moral suffering, and the negative impact of the committed criminal acts.
It has been found that victimization is exacerbated by a situation/moment that provokes or alleviates criminal behavior, the commonality of mutual aggression that penetrates the public/private space, and the subject`s performance of a particular social role.