o. Nerovnosti, skladki, peshchery -- eto sledy silovyh vozdejstvij, sledy vibracij, sohranyayushchiesya na granice. Fuller, ischezayushchaya v kolebaniyah tkanej, predlagaet estetizirovannyj variant takoj telesnoj metamorfozy v kachestve svoego "otkrytiya", esteticheskoj revolyucii, prevrashchayushchej diagrammu v osnovnoe soderzhanie novogo zrelishcha. ZAKLYUCHENIE Telo dvizhetsya v labirinte, v prostranstve, rascherchennom marshrutami. Telo vpisyvaetsya v nekoe mesto, transformiruetsya ot obzhivaniya etogo mesta. Ono deformiruetsya, stanovitsya nepohozhim na samogo sebya i kak by udvaivaetsya "soboj proshlym", dvojnikom, demonom. Telo ischezaet v labirinte, umnozhaetsya im i ostavlyaet vmesto sebya svoe mimeticheskoe podobie, dvojnika, demona. Takogo roda situacii chasto vstrechayutsya v raznogo roda tekstah. Kto zhe etot demon deformacij i diagramm, voznikayushchij v tekstovom labirinte? Inogda my mozhem dat' emu imya personazha ili dazhe "stolknut'sya" s nim licom k licu, kak eto sluchilos' s geroem dzhejmsovskogo "Veselogo ugolka" (sm. glavu 4). Poroj personazh kak budto udvaivaetsya i obnaruzhivaet svoego dvojnika v zerkale (CHichikov, Golyadkin). Inogda etim dvojnikom okazyvaetsya sam povestvovatel', kak v romane Ril'ke. I hotya Ril'ke pytaetsya predstavit' v kachestve "demona" strannogo bol'nogo sub®ekta, kotorogo on presleduet, demonom okazyvaetsya on sam, ego alter ego, vedushchee rasskaz. Imenno rasskazchik podverzhen manii mimeticheskogo kopirovaniya. No chashche vsego demon labirinta ne voznikaet na stranicah povestvovaniya, na ekrane ili na scene. |tim nevidimym demonom yavlyaetsya sam chitatel' ili zritel'. Imenno on dolzhen tak vojti v prostranstvo teksta, tak prevratit' ego v "mesto" svoego prebyvaniya, chtoby nachat' mimeticheski ispytyvat' igru sil na svoem sobstvennom tele. Imenno chitatel' ili zritel' svyazan s personazhem ili povestvovatelem svyaz'yu "besperspektivnogo videniya". Imenno on bredet za ZHanom Val'zhanom v parizhskih katakombah, imenno on zagipnotizirovanno sledit za dvizheniem skladok, skryvayushchih ischezayushchee telo Fuller, imenno on proeciruet "grimasy" s tela na lico u Kuleshova. Diagramma v takom kontekste okazyvaetsya ne prosto sledom deformacii, ona okazyvaetsya propis'yu deformacii, mimeticheski perezhivaemoj chitatelem ili zritelem. CHitatel' okazyvaetsya v polozhenii dvojnika, demona, "presledovatelya" i tem samym vpisyvaet v svoe telo tekst kak labirint sobstvennoj pamyati. Pamyat' tekstov vpisyvaetsya v opyt chitatel'skogo tela kak diagramma. Diagrammaticheskoe perezhivanie teksta pervichno, ono predshestvuet lyubomu aktu ponimaniya i preobrazuet tekst v opyt telesnosti, kotoryj ne mozhet byt' stert. Kogda ril'kovskij "sub®ekt" vypolnyaet nepredskazuemye konvul'sivnye antrasha, on navyazyvaet idushchemu za nim avtoru i chitatelyu takoe zhe konvul'sivnoe povede- 307 nie, smysl kotorogo imenno v nepredskazuemosti i amplitude telesnyh deformacij. |ti chisto energeticheskie, silovye harakteristiki sushchestvenny potomu, chto, v otlichie ot plavnogo i avtomatizirovannogo povedeniya, oni narushayut privychnuyu shemu tela, a potomu vpisyvayut razlichie v telesnuyu diagrammu, delayut ee nepovtorimoj, individual'noj, nezabyvaemoj. Opyt chteniya tem intensivnej vpisyvaetsya v telo zritelya, chem men'she on nagruzhen intellektual'no i obrashchaetsya k rassudku. Znaki, tropy tol'ko prisoedinyayutsya k diagramme, organizuyushchej chtenie. |mblematicheski situaciya vzaimootnoshenij personazhej, avtora i chitatelya vyrazhena v "Golode" Gamsuna, nekotorye fragmenty kotorogo kak budto predvoshishchayut ril'kovskie "Zapiski Mal'te Lauridsa Brigge". Gamsun byl osobenno chuvstvitelen k situaciyam strannyh, nepredvidimyh vstrech. V "Golode" on opisal zloklyucheniya neudachlivogo molodogo literatora, kak i v romane Ril'ke, dvojnika samogo avtora. Gamsun udelil bol'shoe mesto bluzhdaniyam geroya po ulicam Hristianii, chasto stroya eti bluzhdaniya po modeli nevroticheskogo dvojnichestva. V samom nachale romana geroj (on zhe rasskazchik, on zhe pisatel') bredet po ulice za starym kalekoj, postoyanno pregrazhdayushchim emu put': "No staryj kaleka vse tak zhe shel vperedi menya, urodlivo napryagayas' na hodu. V konce koncov menya stalo razdrazhat', chto starik vse vremya idet peredo mnoyu. <... > YA tak razvolnovalsya, chto mne kazalos', budto na kazhdom perekrestke on zamedlyaet shag i kak by zhdet, kuda ya povernu, a potom on vskidyval svoj uzel povyshe i pribavlyal shagu, chtoby operedit' menya. YA idu, vsmatrivayus' v etogo neschastnogo kaleku i pronikayus' vse bol'shim i bol'shim ozhestocheniem protiv nego. <...> On byl pohozh na ogromnoe iskalechennoe nasekomoe, kotoroe uporno i nastojchivo stremitsya kuda-to i zanimaet soboj ves' trotuar" (Gamsun 1991: 23). Estestvennyj ritm dvizheniya geroya narushaetsya ot vstrechi s kalekoj, kotoryj navyazyvaet rasskazchiku nevroticheskij ritm svoego bol'nogo i starogo tela. |ta vstrecha menyaet vse povedenie rasskazchika, kotoryj cherez korotkoe vremya vstrechaet moloduyu damu v soprovozhdenii sputnicy. On nazyvaet ee pro sebya nesushchestvuyushchim imenem Ilayali i nachinaet ee presledovat'. Prezhde vsego on rezko podhodit k nej i govorit: "Vy poteryaete knigu, freken". Za etoj strannoj replikoj (v rukah zhenshchiny net nikakoj knigi) sleduet nepredskazuemaya horeografiya presledovaniya damy: "No zlobnoe uporstvo ne pokidalo menya, i ya poshel za nej. Konechno, v tot mig ya vpolne soznaval, chto sovershayu bezumstvo, no byl ne v silah preodolet' ego; volnenie vleklo menya vpered, zastavlyalo delat' nelepye dvizheniya, 308 i ya uzhe ne vladel soboyu. Skol'ko ni tverdil ya sebe, chto postupayu kak idiot, nichto ne pomogalo, i ya korchil za spinoj damy preglupye rozhi, a obognav ee, gromko kashlyanul. Teper' ya medlenno shel vperedi, derzhas' v neskol'kih shagah ot nee, chuvstvoval ee vzglyad u sebya na spine i nevol'no potupil golovu ot styda, chto tak otvratitel'no vedu sebya s neyu. Malo-pomalu mnoyu ovladevaet strannoe oshchushchenie, chto ya gde-to daleko otsyuda, vo mne rozhdaetsya smutnoe chuvstvo, chto ne ya, a kto-to drugoj idet po etim kamennym plitam, potupiv golovu. CHerez neskol'ko minut, kogda dama podoshla k knizhnomu magazinu Pashi, ya uzhe stoyal u pervoj vitriny, shagnul ej navstrechu i povtoril: -- Vy poteryaete knigu, freken. -- No kakuyu knigu? -- sprashivaet ona v ispuge. -- O kakoj on knige govorit? I ona ostanavlivaetsya. <...> Ej ne ponyat' toj otchayannosti, kotoraya dvizhet mnoyu; u nee net reshitel'no nikakoj knigi, ni edinogo listka, no ona vse-taki ishchet v karmanah svoego plat'ya, smotrit sebe na ruki, vertit golovoj, oglyadyvaetsya nazad, napryagaet svoi nezhnye mozgi, pytayas' ponyat', o kakoj knige ya govoryu. Ona to krasneet, to bledneet, na lice odno vyrazhenie smenyaetsya drugim, ya slyshu, kak tyazhelo ona dyshit <...>. Kak ni byl ya v tot mig dalek ot samogo sebya, sovershenno podchinennyj strannym nezrimym silam, vse zhe nichto vokrug ne moglo uskol'znut' ot moego vnimaniya. <...> U obeih dam, stoyavshih predo mnoyu, byli sinie per'ya na shlyapah i shotlandskie shelkovye sharfy na shee. Mne pokazalos', chto oni sestry" (Gamsun 1991: 26--27). Deformirovannost' telesnoj plastiki, sprovocirovannaya kalekoj, porozhdaet nemotivirovannye uzhimki i grimasy rasskazchika, kotorye kak by distanciruyut povestvovatelya ot nego samogo, vyzyvayut u nego oshchushchenie, chto on nahoditsya gde-to daleko, chto po ulice vmesto nego idet kto-to drugoj, a sam on podchinyaetsya dejstviyu nekontroliruemyh vneshnih sil. |tot drugoj -- uzhe transformirovannaya, demonicheskaya ipostas' avtora, eto uzhe chitatel'skaya ten' ego. CHitatel'skaya ten' okonchatel'no materializuetsya vozle knizhnogo magazina i v svyazi so strannym motivom padayushchej knigi. Teper' v igru dvojnikov vovlekaetsya prohozhaya, kotoroj peredaetsya konvul'sivnost' tela rasskazchika. Organika povedeniya Ilayali takzhe mimeticheski narushaetsya, ona nervno ishchet nesushchestvuyushchuyu knigu, "smotrit sebe na ruki, vertit golovoj, oglyadyvaetsya nazad", "to krasneet, to bledneet, na lice odno vyrazhenie smenyaetsya drugim" i t. d. Skvoz' telo ee yavno idut toki chuzhogo tela, ona v svoyu ochered' podvergaetsya deformacii i obretaet sobstvennogo dvojnika -- sputnicu, neozhidanno obnaruzhivayushchuyu s nej shodstvo. 309 Motiv nesushchestvuyushchej knigi v rukah Ilayali predstavlyaetsya mne emblematichnym vo vsej etoj cepochke mimikrij i deformacij. ZHenshchina, konechno, ne mozhet najti knigi, potomu chto ee fizicheski net. No odnovremenno ona sama popadaet v knigu, stanovitsya i ee personazhem i ee chitatelem. I eta transformaciya, etot udivitel'nyj opyt chteniya svyazan s toj pantomimoj, kotoruyu navyazyvaet ej rasskazchik. Ilayali ne imeet knigi, no beznadezhno ishchet ee, vpisyvaya ee otsutstvie v motoriku svoego tela v kachestve zhestov, issleduyushchih pustotu. Nesushchestvuyushchaya kniga vpisana v telo Ilayali v vide nevidimoj diagrammy. Ne imeya knigi, zhenshchina kak budto chitaet ee. Pozzhe, kogda geroj vnov' vstrechaetsya s Ilayali i pytaetsya sblizit'sya s nej, zakonomernym obrazom otsutstvie vsyakih zhestov kazhetsya emu nepremennym usloviem ih otnoshenij. On kak budto boitsya probudit' fal'shivuyu literaturnost' toj motoriki, kotoruyu on uzhe vpisal v Ilayali v kachestve nestiraemoj diagrammy: "YA dazhe ne pokazyvayu pal'cem, pravo, dazhe ne pokazyvayu, ne delayu etogo, chtoby ne ispugat' vas, ya tol'ko kivayu i ustremlyayu tuda vzglyad, vot tak!" (Gamsun 1991: 126). Labirint rassmatrivalsya na stranicah etoj knigi kak mnemonicheskij obraz, kak eksteriorizirovannaya pamyat' drugogo, v kotoruyu pogruzhaetsya idushchij po nemu. Deformaciya telesnogo obraza, zhestikulyaciya mogut byt' takimi mnemonicheskimi labirintami. Labirint -- eto prezhde vsego diagramma, "kalligramma" teksta. No i chelovek (avtor, chitatel', personazh) mozhet byt' vpisan v tekst na pravah kalligrammy (sr. s kalligrammoj chehovskogo tela v fil'me Sokurova). V rasskaze Borhesa "Sad rashodyashchihsya tropinok" est' obraz labirinta-knigi, sozdannoj kitajskim kalligrafom Cyuj Penom. YA hochu konchit' svoyu knigu citatoj iz Borhesa, otnosyashchejsya k sozdaniyu Cyuj Pena: "...Odnazhdy Cyuj Pen skazal: "YA uhozhu, chtoby napisat' knigu", a v drugoj raz: "YA uhozhu, chtoby postroit' labirint". Vsem predstavlyalis' dve raznye veshchi; nikomu ne prishlo v golovu, chto kniga i labirint -- odno i to zhe" (Borhes 1984:90). PRILOZHENIE* 1. Antonen Arto "STRADANIYA "DUBBING'A" Zvukovoe kino okazalos' svidetelem rozhdeniya strannyh professij, strannyh dolzhnostej i strannyh vidov deyatel'nosti. K ih chislu otnositsya nekaya gibridizirovannaya procedura, ne priznavaemaya horoshim vkusom, ne udovletvoryayushchaya ni glaz, ni sluh, no tem ne menee nasazhdaemaya Amerikoj i priznavaemaya shirokoj francuzskoj publikoj, -- eto to, chto nazyvayut na kinozhargone "dubbing'om" i chto sootvetstvuet francuzskomu slovu "dublyazh", pravda s ottenkom chego-to bolee sovershennogo i bolee uchenogo, nezheli prostoj dublyazh. Hronologicheski "dubbing" poyavlyaetsya vsled za obyknovennoj sinhronizaciej. Zvukovomu kino kazhetsya, chto ono dobilos' absolyutnoj sinhronizacii zvuka i izobrazheniya, no ochen' chasto v moment ih sovmestnogo predstavleniya oni otdelyayutsya drug ot druga, delo ne laditsya, i v kino chashche, chem ob etom dumayut, obrashchayutsya k obychnomu dublyazhu, zvuki nakladyvayut na izobrazhenie posle s®emok, a akterov prosyat u mikrofonov i bez kamer povtoryat' te sceny, kotorye trebuyut absolyutnoj odnovremennosti. Prostoj dublyazh, obyknovennuyu sinhronizaciyu ispol'zovali v hvost i v grivu. V zvukovye fil'my na vseh yazykah, v tom chisle i na yazykah s tonicheskim udareniem, trebuyushchih ot akterov udivitel'noj gimnastiki licevyh myshc, postaralis' vnedrit' opredelennoe proiznoshenie, edinoobraznoe francuzskoe proiznoshenie, monotonnoe i nichem ne narushaemoe, proizvodyashchee takoe zhe vpechatlenie, kak esli by velikolepnaya groza popiskivala kakim-to "pi-pi". |to bylo vremya, kogda francuzskie firmy-odnodnevki, byvshie akrobaty, v odnochas'e stavshie torgovcami fil'mami i vse eshche kolesyashchie so svoim kinematograficheskim hlamom, optom pokupali na yarmarkah i rynkah skota nemye lenty i dublirovali ih s pomoshch'yu kakoj-nibud' zvezdy provincial'noj sceny. Vprochem, fil'my eti tak nikogda i ne vyshli za predely provincii. Tam, gde na ekrane nemeckaya ili amerikanskaya zvezda vskrikivala i zakryvala rot, v dinamikah slyshalsya rokot raskatistogo rugatel'stva. Tam, gde zvezda, pokusyvaya guby, izdavala chto-to vrode prisvista, slyshalsya gulkij bas, shepot ili bog znaet chto. Esli _________ * Perevody M. YAmpol'skogo. 311 sluchajno dublirovannyj podobnym obrazom fil'm pokazyvalsya v kinoteatre na bul'varah ili v inom meste, zriteli s polnym na to osnovaniem podnimali or. V nachale zvukovogo kino v zalah perelomali nemalo mebeli. No, sovershaya glupost' za glupost'yu, kino v konce koncov oshchutilo sebya izobretatel'nym. Za redkim isklyucheniem, nikomu ne prihodilo v golovu delat' horoshie fil'my vo Francii. K tomu zhe u nas net svoej manery. Inymi slovami, tradicii. V Amerike byli i tradiciya i tehnika. Ne budesh' zhe v konce koncov otkazyvat'sya ot zvukovyh amerikanskih fil'mov pod tem predlogom, chto oni sdelany na yazyke, neponyatnom vo Francii. S drugoj storony, bylo uzhe nevozmozhno predlagat' zritelyam eti priblizitel'nye dublyazhi, ogranichivavshiesya perelozheniem teksta s odnogo yazyka na drugoj. I togda v Amerike rodilas' novaya izobretatel'naya ideya: Amerika pridumala "dubbing". "Dubbing" oznachaet dublyazh, no s sootvetstviem zvuka i proiznosheniya. |to bylo prosto! My vse ob etom dumali. No nuzhno bylo eto osushchestvit', i Amerika eto sdelala. Otnyne v tonstudiyah stali dumat' o licevyh myshcah akterov. Opredelennomu otkrytiyu rta na yazyke originala, na kotorom snimalsya fil'm, dolzhno bylo sootvetstvovat' takoe zhe otkrytie rta, analogichnyj trepet lica v yazyke sinhronizatora. I imenno togda-to i nachalas' komediya. Ne ekrannaya, no zhiznennaya. Komediya akterov vseh mastej, kotorye zhazhdut sinhronizirovat' prosto potomu, chto otnyne povsyudu sinhroniziruyut, komediya bessiliya, stradanij i nelepostej "dubbing'a". Prezhde vsego, est' tragikomedii "Metro-Goldvina", "YUniversal" ili "Foke", nanimayushchih francuzskih akterov i aktris za nichtozhnye den'gi v sto dvadcat' -- sto pyat'desyat dollarov v nedelyu, a zatem uvol'nyayushchih ih po istechenii treh mesyacev. Kto eti aktery? Bezdari? Vrode by net. Neudachniki? Vozmozhno! Avantyuristy? Koe-kto. Izvestnye aktrisy, no uzhe ne sozvuchnye ni epohe, ni repertuaru, chej bujnyj temperament ne mozhet priladit'sya k nashemu teatru provincial'nyh vuaerov ili vyshedshih v otstavku i lishennyh voobrazheniya sadistov. |ti aktrisy otpravlyayutsya v Ameriku v kayutah vtorogo klassa, uvozya s soboj garderob, ch'i cveta ne osmelitsya vyzhech' nikakoe solnce. Oni vlozhat svoi francuzskie golosa v tyazhelyj rot Marlen Ditrih, v myasistyj i tverdyj-- Dzhoan Krouford, v loshadinyj rot Grety Garbo. Dlya zhenshchiny, privykshej igrat' vsem svoim telom, dlya aktrisy, dumayushchej i chuvstvuyushchej vsej svoej vneshnost'yu v toj zhe mere, chto i golovoj i golosom, dlya aktrisy, vkladyvayushchej vse vo vneshnost', privlekatel'nost' i znamenityj "sex-appeal", podobnaya zhertva ochen' tyazhela. No ona eshche snosna po sravneniyu s tem uzhasom, s moej tochki zreniya, sovershenno d'yavol'skim, kotoryj ugotovan nastoyashchim akteram direktorami amerikanskih firm i, v chastnosti, g-nom Alenom 312 Birom iz parizhskogo "Metro-Goldvin-Majer" (ya rassprashival ego po etomu povodu), uzhasom, kotorogo oni ne namereny priznavat'. Rech' idet o lichnosti i, ya by skazal, o dushe, sushchestvovanie kotoryh stol' razvitaya amerikanskaya civilizaciya schitaet poleznym dlya sebya otricat'. Ili, vernee, ona otricaet ih, kogda eto vygodno dlya ee biznesa. Togda zhe, kogda rech' idet o bolee ili menee sfabrikovannoj lichnosti zvezdy, obozhaemoj tolpami, Amerika gotova szhech' lyubye inye soobrazheniya na altare etoj lichnosti. Ona schitaet pravil'nym i sovershenno opravdannym, chtoby eta lichnost', novyj Moloh, poglotila vse ostal'noe. (Arto 1978: 85-87) 2. Horhe Luis Borhes PO POVODU DUBLYAZHA Kombinatornye vozmozhnosti iskusstva ne beskonechny, no chasto oni pugayushchi. Greki porodili himeru, chudovishche s golovami l'va, drakona i kozy; teologi II veka -- Troicu, v kotoroj nerazdelimo sochleneny Otec, Syn i Duh; kitajskie zoologi -- Czy-yan, sverh®estestvennuyu purpurnuyu pticu s shest'yu lapami i chetyr'mya kryl'yami, no bez lica i glaz; geometry XIX veka -- giperkub, chetyrehmernuyu figuru, soderzhashchuyu beskonechnoe kolichestvo kubov i ogranichennuyu vosem'yu kubami i dvadcat'yu chetyr'mya ploskostyami. Gollivud obogatil etot besplodnyj teratologicheskij muzej; blagodarya hitrosti, nazyvaemoj "dublyazhom", on predlagaet nam chudovishch, sochetayushchih znamenitye cherty Grety Garbo s golosom Al'donsy Lorenso. Kak zhe ne obnarodovat' togo izumleniya, kotoroe my ispytyvaem pered licom etogo udruchayushchego chuda, pered etimi hitroumnymi fonetiko-vizual'nymi anomaliyami? Storonniki dublyazha (vozmozhno) privedut tot dovod, chto vozrazheniya, kotorye on vyzyvaet, mogut byt' v ravnoj mere prilozhimy k lyubomu sluchayu perevoda. |tot dovod ignoriruet ili obhodit storonoj glavnyj nedostatok dublyazha: proizvol'nuyu peresadku inogo golosa i chuzhoj rechi. Golos Hepbern idi Garbo ne yavlyaetsya chem-to nesushchestvennym: dlya mira on odin iz atributov, ih opredelyayushchih. Sleduet takzhe napomnit', chto mimika anglijskogo yazyka otlichaetsya ot mimiki ispanskogo1. Govoryat, v provincii dublyazh prishelsya po vkusu. No eto ne bolee chem dovod sily; chto zhe kasaetsya menya, to do teh por, pokuda sob- ___________ 1 Mnogie zriteli zadayutsya voprosom: koli sushchestvuet uzurpaciya golosa, pochemu by ne byt' uzurpacii vneshnosti? Kogda zhe eta sistema budet dovedena do sovershenstva? Kogda zhe my neposredstvenno uvidim Huanu Gonsales v roli Grety Garbo v roli shvedskoj korolevy Kristiny? 313 stvennye umozaklyucheniya connaisseurs iz CHilechito ili CHivil'koya ne opublikovany, ya ne otstuplyus' ot svoego. Govoryat, chto dublyazh kazhetsya izumitel'nym ili hotya by terpimym tem, kto ne znaet anglijskogo. Moe znanie anglijskogo menee sovershenno, chem neznanie russkogo; no nesmotrya na eto ya soglashus' peresmotret' "Aleksandra Nevskogo" tol'ko na tom yazyke, na kotorom on byl snyat, i ya s entuziazmom posmotryu ego v devyatyj ili v desyatyj raz, esli on budet idti na yazyke originala ili na tom yazyke, kotoryj ya sochtu za yazyk originala. |to poslednee zamechanie sushchestvenno: obshchee soznanie podmeny, obmana huzhe dublyazha, huzhe toj podmeny, kotoruyu dublyazh v sebe zaklyuchaet. Net takogo storonnika dublyazha, kotoryj by v konce koncov ne vspomnil o prednachertannosti i predopredelennosti. Oni klyanutsya, chto eto sredstvo -- plod neumolimoj evolyucii i chto skoro my okazhemsya pered vyborom: libo smotret' dublirovannye fil'my, libo ne smotret' fil'mov vovse. Prinimaya vo vnimanie upadok mirovogo kino (kotoromu edva li v sostoyanii protivostoyat' odinokie isklyucheniya vrode "Maski Dimitriya"2), vtoroj variant -- ne osobenno boleznennyj. Ahineya poslednego vremeni -- ya imeyu v vidu "Dnevnik nacista"3 iz Moskvy i "Istoriyu doktora Vasselya"4 iz Gollivuda -- delaet vtoroj variant chem-to vrode negativnogo raya. Sight-seeing is the art of disappointment5, -- zametil Stivenson; eto opredelenie podhodit kinematografu, a takzhe -- udruchayushche chasto--i tomu nepreryvnomu uprazhneniyu, kotoroe nel'zya perenesti na potom i kotoroe nazyvaetsya "zhizn'". (Borhes 1979: 87-89) ____________ 2 Fil'm rezhissera ZH. Negulesko, SSHA, 1944. (Prim. per.) 3 Ispanskoe prokatnoe nazvanie "Boevogo kinosbornika" No 9, rezh. M. Donskoj i I. Savchenko, 1942. (Prim. per.) 4 Fil'm rezh. S. 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