Abstract
The purpose of the article is to reveal the specifics of P. Stein’s direction in the context of the master’s experiments with various types of theatre aesthetics in a historical retrospective on the examples of the performances of The Oresteia by Aeschylus, The Three Sisters by A. Chekhov, Faust by J. Goethe, etc. Research methodology. Making fair sense of the stated issue, the article applies the method of historicism and the problem-chronological method to study the development of the P. Stein’s directing method in the historical retrospective; the method of comparative analysis, the purpose of which is to compare the techniques and methods of P. Stein’s directing in the process of staging multi-layered plays; the systemic method, which helped to consider director’s theatre of P. Stein as an integral artistic system; the method of art history analysis and genre-typological method to identify the features of the director’s methodology and the use of expressive means by the master in the process of working on performances, etc. Scientific novelty. The article has studies the aesthetic aspects of P. Stein’s theatre directing in the context of the dynamics of the development of the artist’s idiom. Theatre direction by P. Stein is considered as a unique type of aesthetic activity, one of the attributes of which is “the aesthetics of thinking” (according to M. Mamardashvili), which provides the perception culture of dramatic material and the artistic taste of the staging. Conclusions. The study revealed that P. Stein’s work is characterised by theatrical aesthetics like ancient theatrical art, medieval mysteries, Renaissance art, Elizabeth Theatre, W. Shakespeare’s plays, psychological realism by K. Stanislavski, plays by A. Chekhov, as well as postmodern structures of drama. Aesthetic reorientation of P. Stein’s work is manifested in the tendencies of attitudes towards the textual basis, the strengthening of the polysemantic and polyphonic components of the performance, ambiguity and understatement, despite the clarity and thoughtfulness of stage decisions, the interpretation of classical theatrical works. In the 21st century, P. Stein has transformed the traditions of naturalistic theatre and “new drama” into the energy of total stage mastery.
Highlights
The research of the features of the directing activity of the leading modern masters of the West European theatre scene, the revelation of the originality of author’s idioms and uniqueness of personal world views, which gives extraordinariness to their productions are actual directions of national Art Studies of the 21st century, which cause particular research interest.The creative activity of one of the leading West European theatrical figures German director Peter Stein is theoretically and practically significant in the context of the history, theory and practice of European performing art, to the experience of which the national producers turn traditionally.The analysis of researches and publications has shown that the peculiarities of P
Stein’s staging, the tendencies of transformational processes of stage direction in the space of various aesthetic systems are revealed, the change of which is caused by principal changes of sociocultural nature
The director gives the top place to the text, choosing the path of not adaptation of the ancient text to the modern era, but rather a flat and linear interpretation of Aeschylus, which emphasises inconsistencies, and not hides them, and makes a spectator comprehend the complexity of such work
Summary
The research of the features of the directing activity of the leading modern masters of the West European theatre scene, the revelation of the originality of author’s idioms and uniqueness of personal world views, which gives extraordinariness to their productions are actual directions of national Art Studies of the 21st century, which cause particular research interest. The creative activity of one of the leading West European theatrical figures German director Peter Stein is theoretically and practically significant in the context of the history, theory and practice of European performing art, to the experience of which the national producers turn traditionally. Stein’s theatrical directing, despite the great interest of Ukrainian art critics in the theoretical and practical experience of West European theatrical figures of the second half of the 20th – the beginning of the 21st century, have not got appropriate scientific attention. The theatre aesthetics issue of one of the world’s leading directors of the second half
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