The concept of the “death of the author” implies the full power of the recipients in the
matter of perception and interpretation of the work of art. I argue that the mechanism of
interaction between the “consumer” and the “creator” is more complicated: the recipient
has the opportunity to state his aesthetic preferences in the simplest and most accessible way – to buy a ticket; the author learned to bene瑓t from his own “death” by pretending
to be dead (avoiding to participate in interpreting his creations). However, the physical
death of the author, as a physical death of any person, completely deprives him of all the
possibilities and rights, leaving the perception, storage, transmission and reproduction
of works of art (and the very memory of their creator) to the whimsical and selective
will of the descendants, who, however, usually seem fairer in their judgments than the
contemporaries.
Key words: author, aesthetic recipient, author’s death, producer, rights of the dead.
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