Performatywność płci w filmie Człowiek, który wszystkich zaskoczył Nataszy Mierkułowej i Aleksieja Czupowa

Abstract

The article analyses Natasha Merkulova and Aleksey Chupov’s The Man Who Surprised Everyone (2018) in light of the theoretical assumptions of Judith Butler on gender performativity and – in broader terms – performativity itself. The text draws attention to the corporeality of the characters’ bodies, their somatic ways of expression: gestures, facial expressions, posture, and behaviours, but also their clothing and make -up, and their possible meanings, with a particular interest in the transformation taking place within the main character (the huntsman Yegor). The article’s aim is to make an attempt at the investigation and interpretation of the performative and corporeal (often subversive) acts within the film, which influence the perception of the main character by the conservative rural community.