Theatrical Stage Research Articles

Philosophical context in the work of Sergei Zoruk

S. Zoruk was a bright representative of the artistic circle with an original view and individual ap- proach to art. His innovative methodological theories on academic drawing are organically included in the concept of scientific and methodological base of the Department of Drawing NAOMA and drawing school in general. S. Zoruk constantly studied and improved the technique of drawing, built his personal style. It is in the pictorial compositions that his authorial style with an emphatically refined aesthetic and philosophical subtext is most vividly revealed. The line, the stroke, the spot are combined and intertwined, creating elegant images of his paintings. His style of drawing is characterized by a light, free line. It is extremely interesting to see the evolution of the Zoruk artist: "Game-4" (1991), "Breath of the Wind" (1993), diptychs "Farewell to the Hat" (1993) on carnival themes and "Time to scatter stones, time to collect stones" (1993) for biblical motives. They are made in the technique of drawing. Thanks to the compositional techniques of including large sizes of clean planes of paper and the clarity of the line, the artist achieves the effect when the viewer’s imagination continues to paint the plastic life of the image. S. Zoruk’s creative style is characterized by refinement and detail of the image, elegance and lightness of the line and, at the same time, there is a pause, a colon in the story, which gives space for plot fantasizing. An important place in the artist’s creative activity was occupied by his teaching work, which he began in 1989 at the Department of Drawing KDHI. He alternately taught drawing at the Faculty of Architecture, and later at the restoration, theater, and graphic departments. He took a direct part in the forma- tion of the scientific and theoretical basis for the methods of teaching drawing and introduced methodological development, namely "Double productions in the 5th year" in the working program of the drawing. The level of professional qualification of the artist was marked in 1986 by admission to the National Academy of Arts, the rank — Honored Artist of Ukraine (1996), in 2000 the academic rank of associate professor, and since 2003 S. Zoruk held the position of professor. He successfully combined pedagogical and exhibition activities, repeatedly visited and collaborated with art galleries in Suzhou, Wu Xi (PRC). He has about 40 exhibitions in Ukraine and abroad. His works are in the funds of the Ministry of Culture of Ukraine, the National Union of Artists of Ukraine, the museum "Kachanivka" and the Museum of Contemporary Art (Kaliningrad), in private collections in the Netherlands, Russia, Belgium, France, Germany, Austria, USA, China. S. Zoruk’s creative and pedagogical activity were awarded in 2002 by the award of the Ministry of Culture of Ukraine "For out- standing merits in the development of culture and art". Philosophical sound in combination with intellectual- ism, together with high professional skill gave S. Zoruk’s works of extraordinary artistic value, made them an important phenomenon of Ukrainian art of the last quarter of the XX — beginning of the XXI century. His works have a sense of the space of the theatrical stage: the images, which is raised up to generalization are united by a certain game moment, the artist slowly unfolds in front of the spectator the dramaturgy of the plot, leaving a field for his own interpretations.

DAMPAK PRESIDENTIAL THRESHOLD TERHADAP PERGANTIAN ANTAR WAKTU DI DAERAH

A very difficult choice when faced with the full rights and formal requirements that have been taken, must respect the legal consequences of the single supporting party. As conceptualized by Sebastian Harnich, he will describe the relationship between theatrical stages in giving a formal impression of extra politics in Cirebon Regency. Different things happened in Cirebon Regency when the PAW took place, where regarding the single party proposing it was very clear that it did not violate the law. However, the situation becomes different when political power is mobilized to strengthen regional power. So the authors are interested in studying the impact of the regent threshold in PAW practices that are different from other regions. Then the researchers conducted a study entitled "Impact of the Presidential Threshold on Regent Threshold in Cirebon Regency". Researchers use the footing of previous research to get novelty in research. As a basis for research, several previous studies are related or have something to do with the focus of the study. Political parties that carry in the process of changing between times for deputy regional heads must recommend cadres of candidates for deputy regents who have the appropriate capacity and capability to become candidates for regional leaders. It is not then that the origin of recommending a candidate for deputy regional head is only as an invalid from the applicable law. So that with the election of a qualified deputy head of the region, the welfare of the people in the region and development in the region itself can be independent and advanced.
 Keywords: Change between times, Politics, Legal consequences.

“Did not great Julius bleed for justice’ sake?”: Examining a theory of social justice through will-making in Shakespeare’s Julius Caesar

This article submits that, in Julius Caesar, Caesar’s will functions as the pivotal, legal instrument that subscribesa path toward social justice for every Roman citizen by providing an economic legacy, and simultaneouslyovershadows the deadly allegations against Caesar, thereby highlighting his reputedly vile, tyrannical rule andexposing the calculating motives of Cassius and Brutus. The conveyance of land – as an act of empowering theRoman people – creates a strategic way toward leveraging economic power into their hands. I examine Caesar’swill, Roman inheritance, and Caesar’s legacy. I find similarities with the more recent South African legislationsurrounding land expropriation “in the public interest” with an effort “to tackle injustices”. The article alsoexamines how law negotiates as theatrical stage property, and as a legal instrument to gauge the rights of aneconomically undervalued class. Here, this analysis surveys justice, the law, and material culture, as a way tointerrogate this distinctive Roman history while considering written evidence, particularly its negotiation as afundamental, early modern legal vehicle

Entre rêverie et authenticité – une immersion dans l’Égypte Ancienne avec le peintre Stefan Bakałowicz

Entre rêverie et authenticité – une immersion dans l’Égypte Ancienne avec le peintre Stefan Bakałowicz
 This article consists of a study of two Egyptian paintings of the Russian-Polish painter Stefan Bakalowicz (1857-1947). The study seeks to establish the degree of authenticity and credibility of the represented patterns by finding the sources of archaeological inspiration — both in European Egyptian collections and in the Egyptological works used by artists in the 19th century — which inspired (or could potentially inspire) Bakalowicz to carry out the staging and reconstruction of ancient Egypt. Furthermore, the study focuses on Bakalowicz’s artistic approach and bias as a representative of the late Academicism at the turn of the 20th century. This research is based on the study of the arrangement, choice, and evocative scope of particular patterns as well as the role of fantasy in the service of a theatrical staging of the past Egypt. It also aims to discern elements relating to Egyptomania, Orientalism or even pure academism.

The Potential of Ballet Performances in the Development of Situational Cultural Tourism, Based on the Study of the Audience of the St. Petersburg state Academic Boris Eifman Ballet Theater in St. Petersburg

The paper presents data on the results of the re-search on the potential of performances of the St. Petersburg state Academic Boris Eifman ballet thea-ter (Boris Eifman Theater) as a tourist destination, using the example of studying the cultural prefer-ences and practices of visitors to this theater. The main data on the theater audience was obtained during a visit to the performances of the Boris Eif-man Theater in St. Petersburg, in March – April 2019. We can note the significant specifics of the audience of a particular theater, which is due to both the crea-tive method of the theater's artistic Director B. E. Eifman, and the organization of the theater's theatri-cal, stage and tour process. The identified character-istics of the theater audience, as well as the study of the tourist market of St. Petersburg, allowed us to conclude that it is possible to develop a certain segment of situational cultural tourism in St. Peters-burg, both for domestic and outbound tourism.

ANTHONY NEİLSON’UN SANSÜRCÜ İSİMLİ OYUNUNUN ZYGMUNT BAUMAN’IN AHLAK SOSYOLOJİSİ IŞIĞINDA YENİ BİR OKUMASI

New writing, In-Yer-Face theatre, rising masculinity, grunge, the rave scene, and hip-hop dominated the world of music, literature, and drama in the nineties. The nineties also displayed that one could reach sexual affairs not only in the political world and on TVs, but also on theatre stages. Anthony Neilson whose works are associated in criticism with the phenomenon variously described as In-Yer-Face Theatre put The Censor on the stage in 1997. The Censor is not the playwright and director Anthony Neilson’s first experiential play; however, it was his most sensational and taboo-breaking one thanks to its infamous pornographic scene and a theme around sexual trauma, affection, loss, and death. It is a fact that there is a limitation of studies that focus on the relationship between Anthony Neilson’s dramaturgy and postmodernism. Therefore, this work aims to explore Neilson's Censor from a new perspective that will enable the postmodern elements and features of Neilson's work to be viewed from a moral point of view, which envisages analysing the postmodern situation through Zygmunt Bauman's views. To do this, firstly, this work limits its analysis to the discovery of the playwright’s in-yer-face drama via The Censor. Secondly, after presenting the Polish sociologist Zygmunt Bauman’s views over morality, it analyses morality behind the notion of fluid in The Censor through the focus on ordinary postmodern man and his/her moral and ethical condition by following the postmodernist zeitgeist around Zygmunt Bauman’s moral sociology.

The Demands of Performance Generating Systems on Executive Functions: Effects and Mediating Processes.

Performance generating systems (PGS) are rule- and task-based approaches to improvisation on stage in theater, dance, and music. These systems require performers to draw on predefined source materials (texts, scores, memories) while working on complex tasks within limiting rules. An interdisciplinary research team at a large Western Canadian University hypothesized that learning to sustain this praxis over the duration of a performance places high demands on executive functions; demands that may improve the performers’ executive abilities. These performers need to continuously shift attention while remaining responsive to embodied and environmental stimuli in the present, they are required to inhibit automated responses and impulses using the rules of the system, and they strive toward addressing multitasking challenges with fluidity and flexibility. This study set out to test the mentioned hypothesis deductively and identify mediating processes inductively, using mixed empirical methods. In a small sample experiment with a control group (28 participants; 15 in intervention group, 13 in control group), standardized quantitative tests of executive functions (D-KEFS) were administered before and after an 8-week intervention. Participant-reported qualitative observations from the praxis were also collected throughout the intervention for grounded analysis. Within the limitations of small sample data, we found both statistically significant and trending effects on inhibition, problem-solving initiation, fluidity, and cognitive flexibility. Examining the mediating process, we found that participants experienced significant challenges sustaining the practice halfway through the intervention. The participant-reported solutions to these challenges, which emerged as the strongest behavioral patterns when coding the qualitative data to saturation, were strategies of problem-solving and of re-directing attention. These strategies support and advance our understanding of the effects measured in the standardized tests. In terms of application, our results identify characteristics of PGS that could potentially maintain and strengthen executive functions over and above less demanding performing arts interventions. The results also deliver new insight into how PGS works, which may contribute to the development and teaching of this artistic practice.

TRADITIONS BACKGROUND IN THE UKRAINIAN PROFESSIONAL THEATRE (THROUGH OUTSTANDING THEATRE ARTISTS’ WORK)

The purpose of the article is to analyse the continuity of traditions in the Ukrainian drama theatre, its signs in the work of outstanding theatre artists and the study of artistic phenomena that reflect the national heritage of theatre culture in Ukraine. With this objective in view, and to justify the need for a combination of skill, innovation and tradition for updating the culture of society, we have used methods of analysis and synthesis, an interdisciplinary approach and the principle of historicism. The scientific novelty lies in the fact that the development of the national Theatre is analysed taking into account cultural traditions, their influence on the work of leading theatre figures, and the main principles and traditions of the performing arts. Conclusions. We have found out that Ukrainian artists, despite the Imperial pressure, in the 80-90s of the 19th century got an opportunity to stage performances in the Ukrainian language, although with certain restrictions, and subsequently organise the Coryphee Theatre. Since that period the national tradition had been developed in professional Theatre. We can state that for the support of Maria Zankovetska and the activities of Hnat Khotkevych, the Hutsul theatre of folk art and a combination of cultural traditions with the theatrical art of that time was founded. It is shown that the success of creative searches and experiments of stage figures of the 1920–1930s, which is evident in the activities of Les Kurbas and Hnat Yura and defined as a new chapter in the development of the Ukrainian drama theatre that took place as a result of the synthesis of the tradition of Coryphee Theatre stage school with innovative methods and acting skills. In the future, Serhii Danchenko was able to take the national theatre art to a new level. Particular attention should be paid to Bohdan Stupka’s experimental search. He founded a Theatre in the Foyer, and later a Chamber stage at the Ivan Franko National Academic Drama Theatre, which created new hottest features for communication with the audience, helped to reach the potential of the so-called “small stage”. The plot and sense-creative series tend more towards poetic utterance. It is proved that only a combination of skill, innovation and tradition can provide a high-quality result for performances are filled with deep meaning, awaken thought, emotionally unite the audience, vibrant and exciting to watch. Introduction of new elements gives an impetus to the development of Ukrainian theatre and updates the culture of society.

VISUAL PLASTIC EXPRESSIVENESS IN THE CONTEXT OF THE UKRAINIAN THEATRE ART DEVELOPMENT (the 1990s – early 2000s)

The purpose of the article is to identify the characteristic features of the use of visual plastic expressiveness by the Ukrainian stage directors in the 1990s and the early 2000s based on art review of theatrical productions of avant-garde, drama theatres and studio theatres. Research methodology. The typological method is applied to identify influence factors of the actualization of visual plastic expressiveness; due to the semiotic method the means of plastic expressiveness are considered according to the theory of signs and sign systems as artistic and aesthetic symbols that carry generalized sense information; art review method was used to identify the main features of using plastic expressive means by the Ukrainian theatre directors. Research Novelty. For the first time in domestic art studies, the problems of visual plastic expressiveness in the works of the Ukrainian directors of avant-garde, drama theatres and studio theatres in the 1990s and the early 2000s were studied; art review of theatrical stage production of V. Bilchenko, V. Troitskyi and A. Zholdak identified the individual features of the use of plastic expressive means by the Ukrainian theatre directors with the aim of revealing sense and meaning content of stage works. Conclusions. The study showed that in the Ukrainian theatre art of the late 20th – early 21st centuries directorial search in the field of visual plastic expressiveness was manifested primarily in the context of the active integration of various plastic elements as an addition to the verbal structure of the stage production and/or its replacement at certain moments of the stage action, in accordance with the author’s vision, in order to enhance the sense and meaning loading of the work. The correlation of expression and image in the modern Ukrainian theatre art generates innovative approaches to the understanding and mastering of plastic art.

ЕКСПЕРИМЕНТАЛЬНА ТВОРЧА МАЙСТЕРНЯ «ТЕАТР У КОШИКУ»: ЗАСОБИ ПЛАСТИЧНОЇ ВИРАЗНОСТІ

Мета статті – виявити й охарактеризувати засоби пластичної виразності вистав та моновистав експериментальної творчої майстерні «Театру у кошику». Методологія дослідження. Застосовано метод системного мистецтвознавчого аналізу й описовий метод (для інтерпретації та аналізу індивідуальних прийомів пластичної режисури І. Волицької), компаративний метод (для виявлення особливостей пластичного вираження вистав «Театру у кошику» та простеження внутрішніх зв’язків між використаними режисером засобами зовнішньої виразності й сенсово-смисловим звучанням сценічного твору) та ін. Наукова новизна. Розглянуто засоби пластичної виразності експериментальної творчої майстерні «Театру у кошику», використані в процесі постановки вистав і моновистав театру; виявлено особливості режисури І. Волицької та проаналізовано їхні пластичний та інтерактивний складники. Висновки. Дослідження принципів і методів пластичної виразності експериментальних українських театрів на матеріалі постановок «Театру у кошику» виявило, що естетика української пластичної режисури трансформується під впливом сучасного візуального образу – сценічне мистецтво поєднує досвід минулого й теперішнього як частину постійного розвитку. Українська театральна сцена на сучасному етапі – своєрідне поєднання трансформацій і мутацій, оскільки режисери-постановники не обмежуються національним культурним спадком у процесі пошуків універсальної мови, спільних кодів, що стають джерелом натхнення та чуттєвості в творчості, відшукуючи новаторські естетичні форми постановок. Візуально-пластична образність стала основним об’єктом дослідження та експериментів режисера-постановника І. Волицької, яка перетворює наративний та образний простір на простір абстрактний. Тенденції обміну та взаємодії між різними елементами театрального мистецтва чітко відображені в сучасному українському експериментальному театрі, вони є умовою безперервного розвитку і за формою, і за змістом.

The Repertoire and Interpretative Dynamics of Shakespeare’s Dramaturgy in the Twentieth-Century Lithuanian Theatre

The repertoire and interpretative dynamics of Shakespeare’s dramaturgy in the twentieth-century Lithuanian theatre have shown that despite the fact that the first premiere on a professional theatre stage in Lithuanian took place only in 1924 (Othello), the main European tendencies of the playwright’s directorial narrative (from Romantic rhetoric and retrospectivism to deconstruction or postcolonial practices) were repeated over the course of the century. The author of the article observes that the general turn towards Shakespeare by many Lithuanian theatre artists, not just one director or repertory theatre, reflects and connects various phenomena of major social changes and new beginnings: the creation of an independent state and a professional national theatre in the interwar period; the creation of a more modern theatre and a more relaxed society during the thaw of the 1960s in the wake of the Stalinist regime and its terror; the transformation of the role of theatre in society in the 1990s following the restoration of the country’s independence; the challenges brought about by the new century and the changing generations of artists. This hypothetical parallel between changes in history and in the theatrical discourses distinguishes Shakespeare as a prominent factor of theatre development and puts the Lithuanian professional theatre in the context of the traditions of European Shakespearean theatre repertory choices formed throughout the centuries.

Introduction: Staging Justice in Early Modern France

It should come as no surprise that justice and the theatrical stage entertained a close, albeit complex, relationship in early modern francophone drama. As Valerie M. Dionne and Marc Bizer remind u...

Ways of constructing the past in V. Pikul’s novel “The Favorite”

The subject of this article is the key methods of constructing the past applied by Valentin Pikul in chronological novel “The Favorite”: theatricality technique, actualization of male and female beginnings of the main characters, adventurous beginning that includes special chronotope, creation of mystical atmosphere, introduction of the motifs of meeting and partings, and “modernization” of history – the approach of parallel description of the plot of the XVIII century as a storyline of the time of a reader. The goal is to demonstrate the origin of techniques within the depths of Pukil’s writing methods that are in demand by modern cinematography and brought to life in multiple TV series; and how the enlightening content of historical compositions of the XVIII century, particularly the “Memoirs of Catherine the Great” are replaced by the entertaining presentation. The use of cultural-historical, comparative-historical, and structural methods allow determining the main semantic bonds of the novel and genesis of these phenomena, as well as draw parallels with the indicated realias in the modern mass literature. In the course of comprehensive analysis of the novel “The Favorite”, the conclusion is made on the intentional fictionalization of the historical material by V. Pikul: externally –  through convergence of the novel with theatrical staging via using compositional techniques; and internally –  through the techniques of mass literature writing, creation of adventurous chronotope, diminishment of the heroic beginning of historical characters to the behavioral level of typical characters of the romantic novel, introduction of the element of scandal, mystery and adventure. For the first time, the novel is examined through the prism of the time of its creation – the era of post-Perestroika, and the tradition the author leans upon: country-style and “youth” prose. The acquired conclusions directly relate to the modern situation, work of screenwriters on historical material, which was significantly simplified for the mass literature audience.

Staging Rachel: Rabbinic Midrash, Theatrical Mime, and Christian Martyrdom in Late Antiquity

AbstractLamentations Rabbah Proem 24, a late ancient rabbinic midrash, is in many ways a unique text within the entire rabbinic corpus. It presents an extraordinary array of characters (including Abraham, Moses, the Torah, and even the alphabet) who are called upon to placate God, but fail. As their quest proves inconclusive, the biblical Rachel jumps into the fray to tell her story: how out of sisterly compassion she allowed Leah to take her own place in the conjugal bed on “her” wedding night. Disclosing to her sister the secretive “signs” she had shared with Jacob, Rachel crawled under the nuptial bed to respond to Jacob whenever he spoke. This scandalous autobiography transforms an apparent instance of illicit sex, the ideal material for theatrical stage mimes, into an act of martyrdom and sublime compassion. This article argues that the performance culture of the late ancient Mediterranean world provides the key for assessing this text’s originality. We begin with an analysis of the text, drawing attention to its theatrical qualities and its relationships with contemporary visual imagery (mosaics) and texts from outside the rabbinic milieu (Christian Apocrypha). We then examine the casting of midrashic Rachel as a response to both the mimic adulteress and the Christian martyr. Finally, we consider rabbinic familiarity with mime, particularly with its usefulness as a social mediator and agent of collective catharsis. It is precisely these aspects of mimic performance, we argue, that Rachel’s vignette appropriates in this fascinating rabbinic text.

Inventing the Past, Re-Writing the Present

In recent years an increasing number of performances on the Baltic theatre stage attempt to escape the dominant understanding of “performing history” as a repetition or reinforcement of the monumental representations of the historical past or as a (re)production of “mythistory” (Joseph Mali). Lithuanian creators of performances about history increasingly choose hybrid approaches of representation, merging memorialization and critique, imagination and fact, documents and speculative inventions as forms of engagement with the past. This playful re-imagination of the historical past serves as a creative laboratory, where audience ability to recognize and/or resist historical manipulations as well as to embrace plural and polyphonic nature of memory are tested. In some cases, however, Lithuanian theatre creators are interested in “truthful” or “authentic” representations of personal memories, rather than a performative investigation ofmechanisms of production of the “reality effect” in historiography and their impact on audience perception. This article examines the ways in which historical events are represented on the contemporary Lithuanian theatre stage and, at the same time, addresses the larger issues around the implications of particular theatricalstagings of the past on the current understanding of the subject of history.

(Re)Animating The Image. Staging Media in Romeo Castelluci's M.#10 Marseille

Contemporary theater practices show a clear shift toward the visual, leaving behind the authorial voice of the text in dramatic theater. Bonnie Marranca already noticed how avant-garde artists use text merely as pretext (xi) in a theater of high visuality (xii) and also Hans-Thies Lehmann affirms the contemporary preoccupation with visual dramaturgy (93). In the wake of this evolution, theater studies has focused more and more on theater as a visual event, proposing theater as an image-producing medium able to reflect on the politics of image-making (Rottger and Jackob) and capable of critically engaging with historical ways of seeing (Bleeker). Interestingly, these accounts foreground theater as a self-reflective medium that deconstructs the operations of making and seeing images. The article continues this line of thought, analyzing how different media (painting, sculpture, photography and cinema) are staged in the visual dramaturgy of Romeo Castellucci’s M.#10 Marseille. We argue that theater’s critical potential toward the visual is anchored in the clash of the spatio-temporal logics of these respective media. Nevertheless, the account of theater as a self-reflective vision machine also falls short, as it fails to acknowledge the magical aspects of the (re)animation of the image on the theater stage. As visual dramaturgies provide a stage to bring the image to life, they go beyond a self-critical account of theater and experiment with an animistic attitude toward the image as a living organism (Mitchell).

Between Paper and Performance: Suspicion, Race, and Casting inThe Piano Teacher

Produced immediately before and during the presidency of Barack Obama, Julia Cho’s The Piano Teacher (2007) reflects the evasions of a contemporary moment when claims that the United States had become “post-racial” were particularly pervasive. The play offers a model of how the intimate relationship between paper and performance in drama might capture the contradictions of post-racial discourse. In its theatrical staging, the play generally discourages considerations of how racial demarcations might impact the relationships among its characters; however, it explicitly rejects this position in the published “Author’s Notes.” This gap between paper and performance becomes a site for staging a confrontation among an insistence on colour-blindness, ongoing suspicion of racialized bodies, and the seemingly paranoid responses prompted by the convergence of these two forces.

Metatheatre of Pirandello as an Attempt to (Re)define the Theatre

Luigi Pirandello is one of the greatest creators of the metatheatre. The Italian Nobel Prize winner has tried for years to explore the unclear status of theatrical performances, exposing the paradoxical truths and relations in which the spectacle is implicated. The metatheatrical trilogy of Pirandello includes the following dramas: Six characters in search of an author, Tonight we improvise and Each in his own way. Despite the fact that these texts put emphasis on various aspects of the same problem, they constitute an extremely coherent and – most importantly – up-to-date reflection on the nature of the medium they represent. The action of these dramas take place within a microcosm of indefinite boundaries and its fiction, contrary to accepted conventions, blends into the real world, blurring the border between art and life, imitation and original, truth and falsehood. The author of the article investigates the metatheatrical experiments of the Sicilian master in the three above-mentioned dramas, demonstrating how Pirandellian games with theatre’s conventions and stage illusion changes (broadens) the understanding of the theatrical spectacle and stage fiction. Keywords: Pirandello, metatheatre, modern drama, stage illusion, act of creation, imitation, truth, awareness of fiction

«Доктор Фауст» К. Марло на театральной сцене ХХI века

<p>Данная статья — попытка проследить судьбу пьесы «Доктор Фауст» К. Марло на театральной сцене ХХI в. Дан критический анализ основных подходов к сценической интерпретации пьесы современными режиссерами в России и за рубежом. Отмечен тот факт, что происходит постепенная феминизация сценографии, роли Мефистофеля и Люцифера все чаще исполняют актрисы, а не так давно в Англии выпустили сразу два целиком «женских» спектакля, где все роли исполняют дамы.</p><p>Осовремененный Фауст все чаще предстает не в антураже псевдоготики, как это было 30–40 лет назад, а нашим современником, сидящим в Интернете, отслеживающим новости о скандальных похождениях знаменитостей, жаждущим сиюминутной славы, равнодушным к идее титанического господства над Вселенной.</p><p>Автор приходит к выводу, что сегодня слово в театре постепенно уходит на периферию, освобождая пространство для пластики, жестов, музыки, аудиоэффектов, света, визуальных цифровых технологий, мультимедийных и других средств сценической выразительности.</p>

ЗАМЕТКИ НА СМЕРТЬ ПОСТДРАМАТИЧЕСКОГО ТЕАТРА

For many years drama theatre has been accepted almost as a synonym for the theatre itself, but at the beginning of the 20th century scenic art became enmeshed in firmly embraced stereotypes. A number of stage directors and theatre theorists were engaged in discussion about the crisis in drama and began to develop new scenic forms. Towards the middle of the 60s European stage experienced some radical transformations and witnessed the uprising of postdramatic theatre. Perhaps now, fifty years later, when the revolution is over, it is time to talk about a new crisis and point out the unsettled matters, concerning complex issues of communication and interpretation, but also of the relationships with dramatic text. And there is another important question, which is often set aside: What does it all mean for drama as a literary form? Could it be that these events have redoubled the genre’s stagnation? Could the main reasons be found not on the theatrical stage, but in the literature space? Dramaturgy has not yet realized itself as an independent art of writing, such as poetry and prose. Perhaps, all conversations about the separate ways of theatre and drama are jumping ahead, because in fact this separation has not yet begun.