Background. The article examines the impact of creative resource opportunities of the writers of the autonomous republics of Udmurtia and Bashkiria on the formation of the Soviet socio-cultural ...space. Occupying an important place in the structure of spiritual production, writers contributed to the spread of the ideals of the Soviet era, the formation of public opinion, and the improvement of the general culture of the population. The subject of the study is the process of realizing the writers’ creative potential in the late Soviet era, chronologically covering the second half of the 1960 until 1985. The objectives of the study are to identify the main areas of creative and social activity of writers; to analyze the genre diversity of the products of the intellectual activity of the Ural writers in the conditions of ideological regulation. Materials and methods. The solution of the set research tasks was facilitated by the analysis of unpublished office documents extracted from the archives of the National Archives of the Republic of Bashkortostan and the Center for Documentation of the Modern History of the Udmurt Republic, as well as published materials, certificates, resolutions, transcripts of state and public organizations. The study was carried out using a system-historical approach based on the scientific principles of historicism, consistency and objectivity, using the possibilities of retrospective, historical-comparative, problemchronological methods in conjunction with universal general scientific methods of analysis, synthesis, and modeling. Results. The genre diversity of literary creativity, national writers, its relationship with theatrical art is determined, an increase in publishing activity indicators is revealed, the role of public activity of writers of the Udmurt and Bashkir Autonomous Republics in the growth and complication of the cultural space of the region is characterized. Conclusions. The process of realizing the creative potential of the national writers of the autonomous republics of the Urals was carried out in the transforming conditions of the persisting ideologization with the intensification of the tendency of the creative intelligentsia to turn to the ethnic tradition, which enriched the created works with the depth of moral search within the framework of socialist realism. The conditions created by the party and state bodies for the realization of the writers’ creative potential contributed to a quantitative and qualitative increase in the indicators of their activity.
The essay deals with the didactic activity conducted by Antonio Morrocchesi at the Academy of Fine Arts in Florence and is the result of a systematic survey of archival documents carried out by the ...author in the three-year period 2016-2018. In particular, it examines the dossiers relating to the so-called ‘premi di emulazione’, that is the competitions which, on an annual and three-year basis, saw the most talented students challenge each other in a competition aimed at measuring progress in study and their own artistic maturity. Through the themes assigned to the competitors, it was possible to identify the canon of authors adopted in academic teaching, thus offering an additional perspective on the subject to that provided by the Lezioni di declamazione e d’arte teatrale.
This article presents the experimental results of analysis of efficiency of teaching methods aimed at formation of creative activity skills of future actors during training in studio theatre. In the ...course of the research, psychological and pedagogical theories of formation of creative activity skills were studied; on the basis of experiments, the efficiency of specially developed methods aimed at formation of creative activity skills was proved. These are the methods of development of imagination and thinking, actor abilities, expansion of emotional sphere, worldview and experience of actors in the area of perception of arts pieces, and scenic practice in working on role and stage performance. The authors have systematized the skills of theatrical performance and highlighted as the most meaningful the skills of artistry, scenic mastery, creation of new images or actions, application of various means of stage arts, preparation and performance of stage pieces of various genres, execution of professional functions of actor, director, scriptwriter. Practical value of the work is in obtaining of new scientific data as well as formulation of recommendations regarding the process of formation and development of creative activity skills of students during training in studio theatre.
Cultural exchange in 1954 - 1960 played an important role in the formation of Soviet-Indian cooperation. Adhering to the principles of "pancha shila", the Soviet leadership used the strategy of "soft ...power" to expand its own influence in Asian countries. The exchange of creative teams and individual performers laid the foundation for building cultural relations between the USSR and India in the future. Closer contacts in the period under review were established between circus, theatrical art and dance ensembles. Spectators from both countries had the opportunity to get to know the intangible cultural heritage of the USSR and India, which, in turn, formed a positive impression on the public. Without official agreements, the exchange was carried out during the period under review on the basis of mutual interest, thanks to the initiative of the USSR leadership, closer interaction was carried out, contacts were expanded in the cultural sphere. Consideration of the issue of the place of variety art in the Soviet-Indian cultural exchange makes it possible to determine the features of the process, identify problematic components, in particular, the reluctance to expand the geography of exchanges and the increase in the cost of organizing tours by the Indian leadership. Nevertheless, the Soviet side sought to use this channel to promote the Soviet way of life, deliberately investing heavily in the implementation of plans for cultural interaction with India.
A review of the first volume of new collection of Alexander Ostrovsky’s complete works published under the editorship of Irina Ovchinina, Yuriy Lebedev, Vladimir Tikhomirov in 2018 in Kostroma, is ...presented in the article. The author of the article tells about the team of authors from the cities of Ivanovo, Kostroma, Moscow and St. Petersburg, who took on a lot of work and a huge responsibility to prepare such a large-scale publication. The grounds that make the reissue of Alexander Ostrovsky’s complete works necessary, as well as the objective difficulties that inevitably arose before the team of authors — including the unique attitude of the playwright to the texts of his works when publishing, the presence of a difficult stage history of plays with certain accents in acting, knotty problems with censorship of Alexander Ostrovsky’s works — are considered in the article. The author states that the complete works’ editors had adequately handled all difficulties — the texts of Alexander Ostrovsky appeared before the readers in the first volume of the new full complete works along with editions and versions, the creative history of works, an overview of critical responses in Alexander Ostrovsky’s lifetime, information about stage history and estimates of theatre performances, as well as real, historical and linguistic commentary. Some points do not pass without comment of the reviewer; however, considering the content of the volume, describing important discoveries and findings, the author of the article concludes that the entire Russian philology has been significantly enriched by the publication of that scientific work.
În articol se subliniază faptul că originile teatrului profesionist în limba română coincid cu primele manifestări ale Teatrului școlar (TȘ). La fel și dezvoltarea sau, mai târziu, ...instituționalizarea acestuia se datorează acelorași inițiative școlare. Astfel, descoperim o tradiție cu mult peste 250 de ani de TȘ (german, maghiar sau român), încă din perioada Reformei luterane, când drama școlară începe a fi scrisă în limbile naționale (Brașov) sau în perioada instituirii „primei scene stabile românești” (Blaj).În Transilvania, teatrul în limba română a răzbit încă de la începutul secolului al XVIII-lea. În Moldova se va vedea că acest lucru nu a fost posibil decât în următorul secol (1816). În Țara Românească, la București, primul spectacol în limba română a avut loc mai târziu decât în Moldova, dar tot în școală (1819). Cu toate acestea, Țara Românească și Moldova au privilegiul înființării teatrelor profesioniste în limba română în prima jumătate a secolului XIX, spre deosebire de Transilvania, unde acest eveniment cultural va avea loc abia la început de secol XX.În concluzie, școala este locul de întâlnire a tuturor manifestărilor teatrale în limba maternă până la instituționalizarea definitivă a teatrului profesionist în arealul românesc. FOUNDATION AND DEVELOPMENT OF THE NATIONAL LANGUAGE PROFESSIONAL THEATRE BY MEANS OF THE SCHOOL THEATERThe article emphasizes that the origins of professional theatre in Romanian coincide with the first manifestations of the School Theatre (ST). Likewise, its development or, later, its institutionalization, is due to the same school initiatives. Thus, we discover a tradition with more than 250 years of ST (German, Hungarian or Romanian), ever since the time of the Lutheran Reformation, when the school drama begins to be written in the national languages (Brasov) or during the establishment of the “first stable Romanian stage” (Blaj). In Transylvania the Romanian theatre waded through since the beginning of the 18th century. In Moldova that would only be possible in the next century (1816). In Muntenia, in Bucharest, the first performance in the Romanian language took place later than in Moldova, but still in the school (1819). However, Muntenia and Moldova had the privilege of setting up professional theatres in Romanian in the first half of the 19th century, unlike Transylvania, where this cultural event took place only at the beginning of the 20th century.In conclusion, the school was the meeting place of all the theatrical events in the mother tongue until the definitive institutionalization of the professional theatre in the Romanian area.
The Transcendental Theatre presents a unique phenomenon in the European theatre in the second half of the 20th century. Going beyond the limits of any membership or religious movements, being based ...on the metaphysical and spiritual essence as general‑human components of theatrical art and on the experience of centuries‑old traditions of the Oriental and Western theater, it has become the mentor of transcendental knowledge, so that through theatrical art to help man to reach anothe level of spirituality.
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