Dramaturgia Iwana Wyrypajewa nasycona jest motywami biblijnymi, pełno w niej chrześcijańskich asocjacji. Ewangeliczne przesłanie i frazeologia poddawane są jednak nieustannym transformacjom, co czyni ...chrześcijański kod nieczytelnym. Celem niniejszego artykułu jest zbadanie realizacji chrześcijańskiego paradygmatu w koncepcji duchowości wyłaniającej się z wybranych dramatów Wyrypajewa. Przedmiotem badań jest zespół motywów chrześcijańskich o dużej elastyczności i nośności znaczeniowej. Niezbędne jest również ujawnienie bogactwa religijno-‑filozoficznych inspiracji w twórczości rosyjskiego dramaturga oraz eksploracja – obecnych na różnych poziomach organizacji wybranych utworów – wątków duchowych w kontekście sacrum chrześcijańskiego. Artykuł stanowi próbę prześledzenia bliskich i dalekich odniesień sakralnych oraz strategii modelowania rzeczywistości duchowej w dramaturgii Wyrypajewa. Modelunek duchowości zdaje się wykazywać znikomy związek z chrześcijańskim światopoglądem. Spór nie oznacza jednak jednoznacznego odrzucenia.
The article attempts to describe how everyday life and the ennui it entails influence the lives of the protagonists of Irina Vaskovskaya’s play March. The banality of everyday life is one of the main ...themes in this young author’s works – Vaskovskaya draws portraits of women that are bored and disillusioned with their shallow, bland life, who are waiting for a miracle to free them from the abyss of monotony. The protagonist of the play March stands out against the background of these characters. For her, the trivial everyday life becomes an incentive to abandon her current existence and look for happiness elsewhere (although the actions she takes are often destructive). In the case of the other characters, the lacklustre reality does not spark creativity, but only deepens their passivity and inertia. Vaskovskaya’s play is quite a sombre image of provincial Russia, whose inhabitants live in a state of numbness. While maintaining a semblance of normalcy, they flit between boredom and despair in relation to the meaninglessness of their existence.
The aim of this paper it to discuss the techniques employed in modern political Russian verbatim drama, as well as in their performances. Modern verbatim drama seeks to stay relevant and up-to-date ...by referring to taboos, radical social controversies, and political incidents. So, it becomes an important event of not only cultural but also social life, and it exerts a strong impact onmodern Russian society. The aesthetics of the modern verbatim drama is aimed at representing the reality which is absent from official discourse. Such texts as One hour eighteen minutes by Elena Gremina, Three quarters of sadness (Bolotnaya square case) by Polina Borodina, The last party by Anna Dobrovolskaya, and New Antigone by Elena Kostyuchenko openly explore the issues whichdo not function as part of the public discourse. Thus, they capture the traumatic experiences in order to overcome traumas. These texts take the traumatic events of current political and public life out of the marginal area, and they acquire the status of social statements which give hope for political and social changes, and give rise to unofficial discourse allowing the readers as well as the viewers to define their own opinion related to the traumatizing events.
Woe from wit Griboyedov, Aleksandr Sergeyevich; Hulick, Betsy
2020, 2020-04-14
eBook
Alexander Griboedov's Woe from Wit is one of the masterpieces of Russian drama. A verse comedy set in Moscow high society after the Napoleonic wars, it offers sharply drawn characters and clever ...repartee, mixing meticulously crafted banter and biting social critique.
Exploring theater practices in communist and post-communist Hungary, Romania and Bulgaria, this book analyzes intertextuality or “inter-theatricality” as a political strategy, designed to criticize ...contemporary political conditions while at the same time trying to circumvent censorship. In the Soviet bloc the theater of the absurd, experimentation, irony, and intertextual distancing (estrangement) were much more than mere aesthetic language games, but were planned political strategies that used indirection to say what could not be said directly.Plays by Romanian, Hungarian and Bulgarian dramatists are examined, who are “retrofitting” the past by adapting the political crimes and horrifying tactics of totalitarianism to the classical theatre (with Shakespeare a favorite) to reveal the region’s traumatic history. By the sustained analysis of the aesthetic devices used as political tools, Orlich makes a very strong case for the continued relevance of the theater as one of the subtlest media in the public sphere. She embeds her close readings in a thorough historical analysis and displays a profound knowledge of the political role of theater history.
Настоящая статья посвящена анализу пьесы Аси Волошиной (Эстер Боль) Антигона. Редукция (2013), представляющей собой реинтерпретацию трагедии Софокла. Медленное чтение (сlose reading) драматического ...текста мы помещаем в рамку постструктуралисткой критики (прежде всего работы Джудит Батлер Antigone’s Claim), а с другой стороны соотносим его с такими политическими событиями в России 2011–2012, как массовые протесты против фальсификаций на выборах и «панк-молебен» группы Pussy Riot. Волошина конструирует свою Антигону как фигуру политического и гендерного эксцесса, действующую в специфическом контексте цифровой эпохи. Мы приходим к выводу, что эта пьеса, будучи документом своего времени, остается весьма актуальной в контексте нынешних попыток осмыслить социо-культурные причины слабости антикремлевского сопротивления.
The article discusses the issue of reception of Russian drama of the 20th century in China on the basis of the theatrical and critical reception of A. Arbuzovs play Old-Fashioned Comedy , which was ...repeatedly staged in theaters of the country at different cultural and historical stages and in recent years has again been in demand among theatrical figures and audiences. An analysis of the performances of a well-known text, reviews and readers' reactions to it make it possible not only to trace changes in the perception of the play in a foreign cultural space, but also to examine the social processes that cause such changes, as well as to touch upon the theatrical life itself and stage experiments in China. The conclusion is made that the universal human content of the playwright's plays, the timeless values that are affirmed in his work, and the inherent scenicity, the organic nature of the dramatic language help to successfully adapt the authors works not only to the modern Russian theater, but also for the foreign language ones. An example of a successful dialogue of cultures in the theatrical and dramatic sphere is the stage history of the play Old-Fashioned Comedy in China.
The attention of the playwrights and theatre to Gogol’s prosaic text opens new forms of understanding of the classical text, and allows to find in it both deeply personal author’s content and ...something relevant to the society of a different time. In the plays Pannochka by N. Sadur and Viy by V. Sigarev, the transformation of Gogol’s motives reveals the deep meanings of the story. These are Gogol’s favorite motives of a vague fear of women, eschatological forebodings, the fear of oblivion. The clash of male and female in Nina Sadur’s version is associated with the weakness of the protagonist, endowed with a mystical worldview as Gogol himself had seen it. Desacralization of the hero’s speech reactions happened at a significant moment – prayers, his dreams of higher help from above without relying on his own strengths. They mean the instability of Khoma’s character. In the play by Sigarev, Pannochka becomes a revenge heroine common to the trash thrillers. She dreams of Khoma’s just retribution for her abuse. Sigarev uses the theatrical formula of Gogol’s final petrification / numbness before the inevitable punishment, which unites the poetics of The Government Inspector and Viy finals. He puts it to the forefront in his theatrical reading. The playwrights at the turn of the 20-21st centuries transform a number of key motives of the story – a wonderful space, philosophical perception, spiritual and physical vision. Thus they demonstrate the depths of the modern protagonist’s moral weakness.
New Russian drama Hanukai, Maksim; Weygandt, Susanna
2019, 20190806
eBook
New Russian Drama took shape at the turn of the new millennium-a time of turbulent social change in Russia and the former Soviet republics. Emerging from small playwriting festivals, provincial ...theaters, and converted basements, it evolved into a major artistic movement that startled audiences with hypernaturalistic portrayals of sex and violence, daring use of non-normative language, and thrilling experiments with genre and form. The movement's commitment to investigating contemporary reality helped revitalize Russian theater. It also provoked confrontations with traditionalists in society and places of power, making theater once again Russia's most politicized art form. This anthology offers an introduction to New Russian Drama through plays that illustrate the versatility and global relevance of this exciting movement. Many of them address pressing social issues, such as ethnic tensions and political disillusionment; others engage with Russia's rich cultural legacy by reimagining traditional genres and canons. Among them are a family drama about Anton Chekhov, a modern production play in which factory workers compose haiku, and a satirical verse play about the treatment of migrant workers, as well a documentary play about a terrorist school siege and a postdramatic "text" that is only two sentences long. Both politically and aesthetically uncompromising, they chart new paths for performance in the twenty-first century. Acquainting English-language readers with these vital works,New Russian Drama challenges us to reflect on the status and mission of the theater.
Nina Sadur, the playwright, occupies a prominent place in the Soviet/Russian drama pantheon of the 1980s and 1990s, a group that has with few exceptions been generally ignored by the Western literary ...establishment. The plays included in this volume offer some of Sadur's most influential works for the theater to the English-speaking audience for the first time. The collection will appeal to readers interested in Russian literature and culture, Russian theater, as well as women's literature. Sadur's plays are inspired by symbolist drama, the theater of the absurd and Russian folklore, yet are also infused with contemporary reality and populated by contemporary characters. Her work is overtly gynocentric: the fictional world construes women's traditionally downplayed concerns as narratively and existentially central and crucial. Sadur's drama has exerted a tremendous influence on contemporary Russian literature. Working essentially in isolation, Sadur was able to combine the early twentieth century dramatic discourse with that of the late Soviet era. Having built a bridge between the two eras, Sadur prepared the rise of the new Russian drama of the 2000s.
