He copied style of the Opera Mephistopheles. V.L. Glazychev as a trickster of native Russian design

There are specific norms, values and imaginative beliefs within the designer corporate culture which allow to advance the hypothesis that they can be viewed as a single form of public consciousness or myth as a means of constructing reality. Thus, mythological structures of the professional tradition of Russian designers are considered in this article. The influence of archetypal elements, which form the foundation of any mythology, including the corporate one, is emphasized within the framework of the existing orderly picture of the world. In this context, the author conducts the research of the biographical narrative of the Russian native design theorist Vyacheslav Glazychev. "Vyacheslav Glazychev" is one of the most frequently names mentioned in lectures of the main disciplines of the specialty "design" in Russia along with the names of such practitioners as Raymond Loewy, Dieter Rams and Ettore Sottsass. However, the role of Glazychev is not fully defined in the design professional culture due to the predominantly verbal orientation of his activities. The contextual analysis of Internet resources (personal site of Vyacheslav Glazychev, obituaries) is carried out in order to identify key ideas and determine their significance in modern professional myth-making. These characteristics allow to advance the hypothesis that the dominant archetypal element in the self-presentation of Glazychev is the trickster. This is evidenced by the revealed parallels with a number of specific features of the trickster, described by Mark Lipovetsky. They include an artistic gesture, a connection with the sacral context, liminality and ambivalence. The definite model of behavior is traced in numerous characteristics. It aims at opposing oneself to the existing system by creating a lyminal zone within hierarchies and stratifications. In addition, the conducted deconstruction of the professional myth indicates a significant external and ideological similarity of the image of Glazychev with the popular "cult" hero of that time, Woland. The single difference between them is the mediatorial specialization: for Woland and his entourage it based on the ambiguities of the moral and philosophical order and for Glazychev it can be designated as a provocative individualistic self-projecting within the framework of a collectivist society. An ideal-typical construction based on the trickster model of behavior is proposed to be considered as one of the organizing centers of professional authority and the primary source of branding of the designer's behavior in the Russian social and cultural space.

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