Comedy Theatre Research Articles

Pictures and Words 2 – An Italian Caricature at the End of the Great Vienna War (1683–1699) as “Icono-Text”


 This paper is a branch of my previous research, dealing with allegorical and persuasive cartography, as an exercise in more recent theoretical interpretations of marginalized historical sources – caricatures. The introduction gives the readers an overview of the modern methodology and secondary literature. Furthermore, Giuseppe Maria Mitelli (1634–1718) is unknown to our audience. Therefore, this paper cannot deal with his immenseoeuvre, but only one example of his mastery, the caricature “An International Array of Doctors Counselling the Sultan”. This engraving is dated approximately to 1696, or slightly later, to the last phase of the War of the Holy League (1683–1699). The staging and the characters, as presented in the analysis, show beyond doubt a strong influence from commedia dell’arte in costumes and apparel, recognizing the oldest stock images of Dottore Gracian, originating in Mitelli’s Bologna, and Pantalone, who is precisely attributed to the “medico Venetiano”. This “icono-text” merges visual arts and comedy theatre with text, criticizing the Christian “nations” for their lack of unity in opposing the common foe and nemesis – the Ottoman sultan. The satire is more pronounced in the para-text, adequately written for each one of the actors, including those without the lyrics – headfirst fleeing grand vizier Kara Mustapha, and wool spinning Protestant Prince Imre Thököly, doing the woman’s and not the warrior’s task. Including the sultan, historians have plenty of material for an imagology analysis from the point of view of a witty Bolognese, well-educated and informed, placed in a hub of the baroque network of Europe, bursting with “furor geographicus” and the sound of the printing machines, street vendors, artisans, and carnivals. As any intellectual work, Mitelli’s art piece is placed within its historical-geographical, cultural and socio-political context. 

PLAY ‟LADIES AND HUSSARS” ON THE STAGE OF KHARKIV THEATRE OF MUSICAL COMEDY (1968) AS A MANIFESTATION OF THE TENDENCY TO ‟DRAMATIZE” THE REPERTOIRE

The article is devoted to the only stage reading of the comedy ‟Ladies and Hussars” (Damy i Huzary) by Aleksander Fredro in the history of the Ukrainian theatre of musical comedy and operetta. Put on at Kharkiv Theatre of Musical Comedy (KhTMK) by directors Yurii Fridman, Les’ Syniavskyi and Valentyn Ivchenko as well as conductor Borys Cheboksarov, the performance reflected the trend of diversity in the repertoire of the Thaw period. From a musical point of view, the production with music by Lev Solin, composed with the expectation of performance in a drama theatre, was not noticeable. However, this work reflected the tendency of the musical comedy theatre to search for a new nature of acting expressiveness in a small-form performance (only solo vocalists, without choir and ballet dancers). The production is characterized by a high ensemble culture. The leaders in the play ‟Ladies and Hussars” were not ‟heroes” and ‟heroines”, but bright character actors of the older generation (Mykola Havrylenko as Captain, Romuald Korytek as Orgonova). Significantly increased in relation to operetta or musical comedy, the dialogue part of the personages simply required from the actors a meaningful dramatic action, built together with the director and partners. Artists Mykhailo Ushats and Olha Imberovych created a vivid visual image of the performance. Assistant director Borys Yanshevsky, a former leading actor of Kharkiv Russian Drama Theatre, and Pavlo Kulisich, theatre accompanist, polyglot and art critic, worked with the actors to polish the special style of playing roles in classical Polish comedy, as well as the characteristic phrasing of vocal parts. The actors involved in the production of ‟Ladies and Hussars” remembered their work as a feast of the game, with unpredictable results thanks to skillful partner improvisation. The layout and sketches of costumes by Taras Shyhymaga, the main artist of KhTMK, prepared for production of ‟Ladies and Hussars” on the stage of T. H. Shevchenko Academic Ukrainian Drama Theatre, Kharkiv (director Mykola Yaremkiv, 2002) also analyzed in the article.

Francesco Ballerini’s opera licence for Vienna

Abstract Around 1710, an imperial singer and favourite, the soprano castrato Francesco Ballerini, petitioned Holy Roman Emperor Joseph I for an exclusive licence to establish a public Italian opera house in Vienna that could also double as a court stage. Ballerini’s petition was successful, but his own financial resources were not sufficient to bring the project to completion. In April 1711, the death of Joseph I complicated matters even further. However, Ballerini did not give up on his ambitious undertaking, and in 1726 he invoked his privilege to announce a business plan involving the construction of a new Italian opera and comedy theatre. This announcement was made in a printed pamphlet, hitherto unknown to music historians, which offers new information about how the Italian model of theatre management being was adapted north of the Alps in the early 18th century. This article presents the newly discovered source along with a reconstruction of Ballerini’s efforts to establish Italian opera in Vienna.

From the theater of improvisation to the creation of plays: ways of the emergence of dramatic text in Malay literature

The subject of the research in the article is the process of the origin of the national drama of Malaysia. The object of the research is information on the history of the Malay and Indonesian city theater and works of Malay literature of the first half of the twentieth century. The author examines in detail the long-term changes that took place in the Malay theatrical tradition and the factors that contributed to the emergence of written dramatic texts.The purpose of the study is to determine the mechanism of transition from the unscripted theatrical tradition to dramaturgy. Particular attention is paid to the changes in the repertoire of the Malay city theater associated with the emergence of a new type of plots. The ways of their penetration into the representations of the city theater are analyzed, their influence on the nature of performances is considered. The emergence of a dramatic text in the theatrical tradition of British Malaya has not yet been studied either in domestic Malaistics or abroad, which determines the novelty of the work. The study uses an integrated approach combining the consideration of data on theater and literature. The cultural-historical method fits the available data into the context of the epoch. The comparative method allows us to determine the results of contacts between related theatrical phenomena of the Malay world (Bangsawan theater and the Istanbul Comedy Theater). The birth of drama is seen as a transition from the existence of unscripted spectacles to the creation of plays. As a theoretical basis for the analysis, the concepts of transitivity are used, which make it possible to present this phenomenon taking into account national specifics. This is the definition of a transitional aesthetic phenomenon as an artistic presystem, introduced by A.V. Lukov, as well as the structural gradation of the literary transition, presented in the work of A. A. Stepanova on the basis of generalization of a number of previously proposed approaches. As a result of the research, the main factor that contributed to the birth of Malay drama is revealed – the appearance of realistic plots in the repertoire of the previously unscripted theater of the transitional type. According to the findings of the study, there were two sources of these plots: external borrowings and the interaction of theater with literature.

An American Investor in the Theatre Industry of Budapest

In the interwar period, an American theatre and film entrepreneur had a determinantimpact on the private theatre sector of Budapest. Ben Blumenthal (1883–1967) ran the Vígszínház(Comedy Theatre) in 1920–1926 and owned its building in 1920–1949. In addition, Blumenthalfinanced the operation of the Fővárosi Operettszínház (Budapest Operetta Theatre) in 1922–1926.Although from a global perspective, Blumenthal does not belong to the group of legendaryUS theatre or movie producers, in the context of Hungarian theatre culture, he was the mostinfluential mediator in Hungarian–American cultural relations. The study aims to piece together theundiscovered elements of Blumenthal’s personal and professional biography and to discuss how hisactivities were evaluated from the American and the Hungarian perspectives.Special emphasis will be given to the US and Hungarian entertainment press: Blumenthal’sinterviews on his Hungarian theatres, articles on Blumenthal’s position in the transnationalproducers’ hierarchy, and representation of the Vígszínház in the US entertainment press. The aim isto assess the significance of Blumenthal’s Budapest business activities within his entire career.

The popularity of the light comedy during the late era of Kim Jong-il

AbstractThis paper examines the political and cultural context of the popular 2010 revival of the light comedy theatre productionSanullimin North Korea. The play, originally written and performed in 1961, portrays the spirit of revolutionary optimism as the characters resolve an unhostile conflict and unite to expand socialist production to contribute to overcoming the (real-life) political and economic crisis of the Chollima era. The 2010 revival of this propaganda responded to similar political and economic crisis, and was designed to instil confidence that the present crisis would be overcome as successfully as in the first Chollima era, provided that people could conjure the same revolutionary optimism. This paper examines why this particular play was revived over others from the Kim Il-sung era, and its particular potential to serve as effective propaganda during the transition from military-first to party-first policy in the Kim Jong-un era, in reference to parallels between 1961 and 2010. The play immerses the audience in the dramatic situations through verisimilitude to the lives of the audience, though the emotional excess of the characters is often exaggerated. Such laughter ignited by dramatic irony contributed to creating a heightened ideological thought of the audience who would spontaneously (re-)internalise the communist human character. The revival of the play was the most appropriate choice according to the object of justification of the succession of power from Kim Jung-il to Kim Jung-un.

PRESERVATION OF THE NATIONAL VALUES OF THE UYGHUR PEOPLE IN THE DRAMATIC PRODUCTION "ANARKHAN" AND A MODERN INTERPRETATION OF THE STAGE PERFORMANCE.

Since the opening of the State Republican Uyghur Musical Comedy Theater named after K. Kuzhamyarov, it has developed professionally and introduced the public to the best examples of Russian and world classics. The theater, in particular, achieved significant results in the development of national drama. In 1934, the musical drama "Anarkhan" by Zh. Azimov and A. Sadyrov was staged for the first time on the stage of the Uyghur theater. It is known that the play "Anarkhan", glorifying freedom, true and sincere love, honesty and wisdom, gives the main impetus in shaping the creative path of many Uyghur folk actors and directors. The article analyzes the musical drama "Anarkhan" directed by M. Izimov, director of the Uyghur theater. The humanistic idea of ​​the performance, artistic and national peculiarity, symbols and signs, bright personalities, rich and elegant language, which has become a treasure of Uyghur national drama, gives the audience aesthetic pleasure and is undoubtedly the main reason for a long stay in the theatrical repertoire. In the performance, you can often see folk songs and dances combined with stage images, which in turn helps to reveal a new artistic appearance. The director pays special attention to the inner state of the actor in creating a stage personality, the diversity of human nature, as well as the integrity of the spirit of the acting ensemble. Director M. Izimov constructively used historical and ethnographic facts in the play, without violating folk traditions, Anarkhan performed by D. Rakhmetzhan, Hamra performed by A. Amanbaev, Sultanbai performed by A. Iskandarov, etc. the director comprehensively analyzed the characters, and in the best way managed to reveal the skills of the actors. It emphasizes the analysis of the work, work with characters subordinate to the director's idea and corresponding to the folk character of the musical drama "Anarkhan". Undoubtedly, which has become a classic of national drama, the work "Anarkhan" is of great interest to the younger generation nowadays.

Development of the dance-rock opera genre in the creative content of ‘Mykhailo Vodianoi’ Academic Theatre of Musical Comedy, Odesa

Background. Staging of rock opera began in Ukraine simultaneously in theaters of drama, opera and musical comedy in the mid-80s. The first drama and ballet performances were based on the works of Russian authors. From 1986 to 1993 Kharkiv Theater of Musical Comedy made stage production of rock operas based on the works of Alexander Zhurbin, Andrew Lloyd Webber and Alexey Rybnikov leaders of its repertoire policy. Since the 2000s, Odessa Theater of Musical Comedy has staged a dance-rock opera as a new modification of stage play with rock opera. The relevance of the article. Stage performances of dance-rock operas have not yet been sufficiently studied in Ukraine. Such Ukrainian musicologists as Olga Verkhovenko, Iryna Palkina, Halyna Filkevych fragmentarily have studied genre features and performance forms of dance-rock operas. In addition, some periodicals have covered these productions in their critical reviews. Methods. The work is based on a typological method, which made it possible to classify performances as a rock opera genre. The biographical method has also been applied to determine the artistic influences on the choreographer Heorhii Kovtun. The comparative method made it possible to separate the dancerock opera from other productions related to the genre of rock opera, as well as from apologetic performances that exploit already invented forms. When analyzing the performances, some elements of the reconstruction method were used. Results of the study. Odessa Musical Comedy Theater presented four performances in the genre of dance-rock opera, three of which were staged by Heorhii Kovtun. The first (and most successful) production with a new performance approach was the play “Romeo and Juliet” based on Shakespeare’s tragedy with music and libretto by Yevhen Lapeiko (Odessa). A new type of leading performers (selected at casting) appeared in the play. The type of rock opera artist represented by Kyryl Turychenko is characterized by freedom from musical comedy clichés. A pop singer with appropriate acting, athletic and dance training, he could sing when falling, climbing a two-story stage tower, or during a dynamic dance. Scenography by Stanislav Zaitsev showed a tendency towards brevity, constructiveness and simultaneous development of action in three stage dimensions. Other productions of Heorhii Kovtun – “The Canterville Ghost” and “Silicon Silly Woman.net” based on the works of Russian authors D. Rubin, A. Ivanov, O. Pantykin and K. Rubinsky developed rock opera principles invented by the choreographer rather than deepened them. The director of “The Canterville Ghost” did not quite clearly indicate the vector of the main idea. This led to the breakup of stage action into spectacular theatrical attractions with pyrotechnics and impressive stage design transformations. In fact, it is still not clear what the director was trying to recreate – a melodrama, a comedy with elements of satire or Guignol. The play “Tristan and Isolde” based on the works of the Ukrainian composer Alexander Nezhigai and playwright Serhii Piskuriov was staged by the theater director Vladimir Savinov. His ignorance of musical theater specifics contributed to the vocally and musically weak performance. Most of the action in the stage production was organized by the choreography of Anatolii Bedichev. Contrary to expectations, V. Savinov’s performance was also significantly inferior to Н. Kovtun’s performances in relation to libretto adaptation, stage design and tempo-rhythm of the performance. All rock-dance opera performances were aimed at teenage and youth audiences. Conclusions. Unlike rock operas of the previous decades, the production proposed by choreographer H. Kovtun is characterized by a synthesis of modern choreography, spectacular show, performance universalism and dynamс crowd scenes. As a choreographer, he did not pay much attention to the actors’ work on the characters. Vocally the singers gravitated towards the pop style (using microphones). Unlike earlier productions of rock operas in Ukrainian theater (with phonograms or symphonic jazz instrumentation of the theater orchestra), the troupe of Odessa Musical Comedy Theater performed rock operas with combined accompaniment (studio phonogram, theater orchestra, rock band). Further study of the multiple issues identified in the article requires a deep analysis of the repertoire, types of rock opera in the theater of musical comedy in Ukraine and the distinctive vocal and acting performance features.

ОСОБЕННОСТИ СТАНОВЛЕНИЯ МУЗЫКАЛЬНОЙ ИНФРАСТРУКТУРЫ КЕМЕРОВСКОЙ ОБЛАСТИ (20–40-е ГОДЫ ХХ ВЕКА)

Describes a stage of formation and development of music in the Kemerovo region's infrastructure as a young industrial region of Russia. Due to interaction between socio-cultural and socio-economic aspects of development of the region, the musical life of the Kemerovo region was prepared in the pre-industrial period (until 1920), featuring the development of music performance within folk, Church, amateur music-making and unable to exit professional level due to lack of expertise in the region. After the October revolution in the conditions of intensive formation of the industrial structure in young cities region and the initial installation on massification of amateur (amateur) creativity, gradually formed the basis for the establishment of a fully fledged musical infrastructure. This phase was marked by the emergence and intensive development of musical performance mainly in the form of amateur music: choral and instrumental groups in constructed folk houses and clubs, performing cultural and educational functions among the working population. Parallel to the process of formation of the educational basis of musical infrastructure: opening of children's music schools, music schools, offices, children's creativity centres at clubs and houses of culture industry enterprises. During the great patriotic war, resulting in the evacuation and the arrival in the region of creative collectives and professional musicians going on formation of academic performance. Creating a pop concert Bureau (1943), subsequently converted in Kemerovo Oblast Philharmonic, translation of theatre of musical comedy (1945 g.) led to revitalize and strengthen the processes of professional music art items in Kemerovo oblast. With the opening of vocational educational institution-Kemerovo musical College (1944)-lay the Foundation for training new personnel in the sphere of musical culture of the region. With the advent of the professional segment in the cultural traditions of stabilization activities are envisaged with the totality of the prevailing musical infrastructure functioning in the context of the musical life of the region. Consequently, the period under review is an important link in the panorama of music art development in the industrial region, and determines subsequent lush flowering in 1970–1990.

РЕЖИСУРА ДМИТРА БОГОМАЗОВА В КОНТЕКСТІ ІННОВАЦІЙНИХ СЦЕНІЧНИХ ПРАКТИК

Мета статті – виявити специфіку творчої діяльності Д. Богомазова в контексті еволюції і трансформаційних процесів української театральної режисури кінця ХХ – початку ХХІ ст.; визначити вплив новаторських сценічних практик митця на формування сучасного сценічного мистецтва в Україні. Методологія дослідження. Для розкриття мети і досягнення поставлених завдань у дослідженні застосовано історико-мистецтвознавчі та аналітично-мистецтвознавчі підходи й методи, сформовані в українському мистецтвознавстві. Домінуючим обрано метод компаративного аналізу, що завдяки світоглядній функції посприяв виявленню специфіки світобачення режисера, отриманню предметного уявлення часопростору проаналізованих вистав, поглибленню уявлення про логіку побудови Д. Богомазовим сценічного твору та специфіку використання режисерських підходів і прийомів. Наукова новизна. Досліджено режисерську діяльність Д. Богомазова та виявлено вплив його творчості на розвиток української театральної режисури початку ХХІ ст. Визначено та проаналізовано різноманітні шляхи та конструктивні пошуки митця нових театральних форм, удосконалення режисерської технології, використання інноваційних засобів виразності, що визначили створення унікальної сценічної мови та збагатили постановочну культуру вистав на сцені Київського театру на Лівому березі Дніпра (з 1993 р.), театру «Вільна сцена» (2001–2012 рр.) та Національного академічного театру імені Івана Франка (з 2017 р.). Висновки. Дослідження творчості Д. Богомазова як феномена режисерського мислення сучасного українського режисерського театру дало змогу з’ясувати специфічні риси принципів і методів професійної діяльності, розглянути методологію експериментальної роботи сучасного режисера-постановника над виставою, що своїм підходом презентує провідні режисерські концепції і погляди на театр майбутнього в українських реаліях. Мистецтвознавчий аналіз експериментальної та художньо-постановочної діяльності Д. Богомазова виявив прагнення української режисури до симбіозу різних підходів організації часопросторового континууму, елементів сценічного та мультимедійного мистецтва в процесі створення унікального чуттєвого досвіду нового театру ХХІ ст.

Improvised Caregiving or How a Famous Comedy Theatre Found Itself in Health Care.

For more than 60 years, The Second City has used the techniques of improvisation to train some of the world's funniest and most famous people-among them Bill Murray, Tina Fey, Amy Poehler, Jordan Peele, John Belushi, and Joan Rivers. The same skills that generate laughter are just as powerful and potent in any situation that requires human beings to navigate complexity, solve problems in group settings, and listen with the intent to hear. Collaborating with Caring Across Generations, Cleveland Clinic, and other organizations, The Second City has developed training modules that give individuals and groups more agency in the health care space. This article details how the program was developed, provides key insights into the benefits of such training, and offers takeaway exercises readers that can use with their teams and students.

Театральне мистецтво Маріуполя: сторінки історії та сучасні реалії

The purpose of the research is to review the history of Mariupol's performing arts and to characterize the acting arts technologies (traditional and innovative), which the staff of the Mariupol Drama Theater relies on in its activity. Research methodology. The following methods have been used to achieve the goal of the research: historical is (to study the stages of the theatrical art formation of Donetsk region); analytical is (to identify the basic principles of the acting school as a result of its historical evolution); cultural studies is (to consider the acting school traditions in the context of the contemporary performing arts development in Mariupol); art studies is (in the analysis of acting schools and forms of directing technologies); source studies is (in the study of archival materials related to the theatrical life of the city). The scientific novelty is that the peculiarities of Mariupol contemporary acting art and its relation to the achievements of classical Ukrainian theater of luminaries have been revealed. Conclusions. The center of Donetsk region's theatrical culture is the Donetsk Academic Regional Drama Theater (Mariupol). The analysis of the theater activity at different stages of its functioning makes it possible to confirm that the historical realities of the acting school development of luminaries in Donetsk have fragmentary coverage in the historical, cultural, art and theatrical literature; the formation of repertoire preferences in the actors' troupes was influenced by the touring activities of the Coryphaeus Theater. A special role in this process was played over the principles of artistic images as a central element of the performance, which combines its composition and indirectly affect other components. Despite the period of the so-called "stagnation", in the Soviet theatrical practices in the late 70's we trace the tendency to return to the traditional forms of theatrical expressiveness for the Ukrainian theater, which helped to activate the directing and acting creativity in search of new variants of combining theatrical means of the Ukrainian everyday life inherent in classical and contemporary European drama and comedy theater. The main features of the Ukrainian Acting School of the Mariupol Theater are realistic approach to the creation of stage images; widespread use of music, singing, dance; the productive work of the actor over himself.

Oleksandr Ivashutych, a student of Les Kurbas, as a universal figure in the theater of musical comedy

Background. Analyzing the origins of the school of Kharkiv Academic Theater of Musical Comedy, we cannot ignore its founders. People’s Artist of the UzSSR O. Ivashutych was a director, head of the theatre (during the 1940s), drama actor from the year of its founding (1929) to 1971. Methods and novelty of the research. The research is based on historicalchronological, biographical, typological, and comparative methods with an element of performances and roles reconstruction. Not much is known about O. G. Ivashutych. The only encyclopedic reference about him (from the “Encyclopedia of Modern Ukraine”) does not shed light on the director’s method, indirectly giving an idea only of the acting range. The work of Yu. Stanishevsky (1970) on the first forty years of musical comedy theaters of Ukraine (“Colors of Ukrainian operetta”) has several useful elements of reconstructions of the roles in the early period of O. Ivashutych’s work. N. Yermakova’s (2012) monograph “The Berezil Culture…” contains facts and important assessments of O. Ivashutych’s activity as a member of the Berezil Art Association. The author of this paper has collected more than 30 articles in the funds of scientific libraries and Specialized music and theater library of Kharkiv, as well as in the archives of KhATMK, and for the first time the information about the work of O. Ivashutych is analyzed. In addition, the actresses who worked with O. Ivashutych were interviewed. Therefore, this study is the first to reveal and systematize peculiarities of the creative path of O. Ivashutych, an actor, director, head of Kharkiv Theater of Musical Comedy. The director made about 40 productions on the stage of Kharkiv Theater of Musical Comedy and in Central Asia, where he was later evacuated. As an actor, O. Ivashutych played more than 100 versatile roles. The article aims to identify and characterize the main stages of the creative path of O. Ivashutych as well as differences between his acting and directing in different aesthetic eras. Results. O. Ivashutych’s creative individuality leaned towards the tragicomedy of Charlie Chaplin and Maryan Krushelnytsky. As a student of Les Kurbas in the Berezil Art Association and a member of the director’s laboratory of this theater, Les Ivashutych mastered the method of the famous avant-garde company, Les Ivashutich mastered the stage method of the famous avant-garde company, skillfully building rhythm of a performance and a role, turning to circusize, grotesque sharpening of images. In his directing work on the stage of the Musical Comedy Theater, O. Ivashutych, as a pupil of “The Berezil”, sought to consistently develop two repertoire trends: the embodiment of the best European classics (often exclusive in the country salon repertoire) and Ukrainian works (musical comedies and operettas by M. Verykivsky, M. Lysenko, O. Riabov). In our opinion, during these years L. Ivashutych drew a dash line of the European repertoire in his theater: he presented unique in the history of Kharkiv Theater of Musical Comedy operettas “The Borgia’s Garter” by K. Kraus, “Jeanne Who Cries and Jean Who Laughs” by J. Offenbach, “Ball at the Savoy” by P. Abraham (1940), “The Marriage Market” by V. Jacobi (1947), “The Eagle Feathers” by F. Farkas (1957), “Fraskita” by F. Lehár (1959), “The Waltz King” by J. Strauss (1961) and the first productions of famous operettas “Rose Marie” by G. Stotgardt and L. Friml (1942), “The Circus Princess” (1947), “Zorika (Gypsy Love)” by F. Lehár (directed by O. Ivashutych in the year of the composer’s death). In addition, O. Ivashutych staged four performances based on the musical comedies of the classic of Ukrainian operetta O. Riabov. The only performance, which could directly reveal the methodology of “The Berezil” was a fantastic comedy “Viy” (1951). The director also impressed with frank theatricality in circus scenes from the Milyutin’s operetta “Circus lights the fires” – together with choreographer A. Gulesco he managed to set up the style related to “girls” from “The Berezil” revues. Conclusions. Olexandr Ivashutych’s acting naturally evolved from the avantgarde of the 1920s – early 1930s, when he created, in particular, an eccentric image of Orpheus in the production of J. Offenbach, to the realistically psychological roles of 1950–1960, performed in a soft comedic manner (Amadeus in “The Bat”, Rooster in “Akulini”, Underwud in “The Kiss of Cianita”). L. Ivashutych worked as a director only during the period of the theater of “socialist realism”, which resulted in the corresponding realistic principles of his productions. However, even in such circumstances the director appreciated and skillfully used bright elements of theatrical imagery (fantasticality in “Viy” by M. Gogol, choreography in the spirit of the revue in “Circus lights the fires”). O. Ivashutych’s activity in Kharkiv Theater of Musical Comedy was based on the significant personal culture of the artist and his worldview of an intelligent leader.

Khorezm regional state uzbek theater of musical drama and comedy named after agahi

Today it is appropriate to enumerate the changes in the spiritual and cultural spheres that shape a person as a person. It should be noted that it is a natural phenomenon that all spheres of life are connected with spirituality. Currently, a number of positive steps are being taken in this area. However, the issue of instilling in the minds and hearts of young people a sense of devotion to the motherland is of great importance, the result of which we must see in the development of our theaters. This article provides information about the historical stages of development of the Аgahi Musical Drama and Comedy Theater.

A drámaként olvasás lehetősége : Esterházy Péter három dramolettjéről

In my paper, I use three of Péter Esterházy’s dramatic works to demonstrate that the linguistic logic created by the author is not incompatible with the dramaturgical expectations of the stage performance’s context. The dramolettas published in the 2006 volume Rubens and the Non-euclidian Women are works created with an awareness of the needs of stage performances, and affected not only by German speech-plays, but also the traditions of comedy theatre, avant-garde theatrical forms and neo-avant-garde performance arts.

Hugo Rodas e o Pitu em São Paulo ”“ Fala aí seu Lorito!


 
 
 O artigo trata da ida de Hugo Rodas para São Paulo entre 1981 e 1982 a convite de José Celso Martinez Correa e a posterior mudança do Grupo Pitu de Brasília para São Paulo. Apresenta a contextualização histórica da cena cultural paulistana que antecede o momento em que o Grupo fez residência no Teatro Oficina. Relata o inicio da montagem de Fala Lorito, último trabalho do Grupo que começou após um espetáculo musical que Hugo montou com Maria Alice Vergueiro apresentando a música de Brecht/Weil. Conta como se deu a aproximação do Grupo Pitu e de Hugo Rodas com Antonio Abujamra, então diretor do Teatro Brasileiro de Comédia, o TBC, que terminou por ser produtor e co-diretor da referida peça que estreou em janeiro de 1983.
 
 

Rire du patriarcat : la comédie française des années 1550-1650 au prisme du genre

French comedies from the late 16th century and early 17th century revolve around games of love-making which are systematically likened to acts of war. A compact web of metaphors draws a parallel between the conquest of maidens and the conquest of cities. This metaphor of the conquest of a city which provides the narrative basis of the plays also displays, at an ideological level, a fundamentally misogynous world view. This study proposes to analyse this fundamental schema and explain the changes it undergoes. Indeed, as we progress through the 17th century, the metaphor of the town siege can be turned around and some of the lead female characters tend to turn into conquerors. The theatre of comedy thus takes the edge off its misogynous side. In Corneille’s La Veuve and Le Menteur, in Claveret’s L’Esprit fort or in Rotrou’s La Célimène the relationships between male and female characters develop in a way that is gradually more favourable the the latter. Gender studies can bring fresh light to the study of French comedy from the 1550s-1660s. This theatre of the beginning of the modern age highlights both the foundations of our patriarchal society and the first signs of its shattering.

METHODOLOGICAL ASPECTS OF THE USING THE GENRE OF IMPROVISATION AS A MEANS OF THE MANIFESTATION OF PERSONALITY CHARACTERISTICS IN A THEATRE OF COMEDY

Purpose of Research. The purpose of the article is to analyse the using the genre of improvisation as a manifestation of personality characteristics in a theatre of comedy in the context of culture, language and customs. Methodology. The methodology of the research includes the art history and culturological approaches. The author applies the system-structural, analytical and comparative methods. They allow studying the particularities of various types of theatrical characters, which use both ordinary language and the language of physical gestures that are typical for English culture. The combination of the accessible language and visual conceptual immediacy makes it suitable for intercultural communication at different levels . Scientific Novelty. The scientific novelty of the article is the fact that this issues is the first, which are implemented in the course for future actors and students, who are studying a foreign language and culture. It has been implemented at Kyiv National University of Culture and Arts. The results of several months of an intensive theatre course are important for future projects and can be extrapolated to higher educational institutions in Ukraine. Conclusions. Thus, it has been found out that the theatrical workshops, based on the production of authentic, comedic texts, can provide rich and meaningful skills of foreign languages. Theatre courses can be used to learn a foreign language with understanding and interpretation of foreign literature and culture. In addition, the production process of the theatre encourages students to show their talents, challenge their abilities and achieve their goals in speaking any foreign language.

CHOREOGRAPHERS OF THE STATE THEATER OF MUSICAL COMEDY IN LVIV FROM 1946-1953

A study is conducted of the historical processes of the formation of dance traditions in musical theaters, as well as operetta theaters on the example of the activities of choreographers of the Lviv Theater of Musical Comedy in the period from 1946 to 1953. The study outlines the historical processes of the formation of the above dance traditions. This study identifies the personalities of the choreographers of the directors of this theater and their creative result; there is a careful attitude to the traditions of the past and the introduction of modern techniques of theatrical choreographer. In the context of the features of choreographic numbers and their significance for the opera performance, their repertoire is considered. Definition of research. At the beginning of the 21st century, the event of the separation of choreography as a separate scientific specialty called “Choreographic Art” took place in Ukrainian art, which in turn requires a deep and meaningful study of the choreographic art of Ukraine in all its aspects and the development perspective. One of the aspects of this study is the study of the activities of the theatrical choreographer. The purpose of this study is to track the historical processes of the formation of dance traditions in musical theaters using the example of the Lviv Theater of Musical Comedy in the period 1946-1953. Main objective of the study. To personify the choreographers of the theater and to indicate the result of their activities; to trace their careful attitude to the traditions of the past and modern traditions in the context of the activities of the theatrical choreographer; determine the prospect of further scientific research. Methodology. The general scientific methods of objectivity, historicism, systemicity and observation are applicable here. The method of objectivity and historicism provided an opportunity to trace the conditions and the main stages of the creative activity of the choreographers of the State Theater of Musical Comedy in Lviv. The comparative method is suitable for use in the analysis of the creative work of choreographers of the Musical Comedy Theater in Lviv, because such a method provides an opportunity to discover common and different features. The systematic approach allowed us to study this phenomenon comprehensively. The observation method, which was used for a comparative analysis of the activities of choreographers in the post-war years in Lviv with modern ballet activity, revealed the nature and inheritance of the traditions of musical theater. Conclusions. So, the dance became the main axis for the whole drama performance, on which interconnected episodes were strung together in pop and musical theaters. The introduction of choreography into theatrical performances by the choreographers released the energy, musicality, plasticity contained in it, and endowed the performance with dynamism. The dance introduced into the musical theater became the starting point for the use of dance in the cinema, avant-garde ballet, performances, installations and so on.All this was subtly felt and skillfully used in their activities by the choreographers of the Lviv Musical Comedy Theater O. Opanasenko, I. Brzhinsky, B. Tairov, N. Denson. It is pleasant to realize that the results of their activities and their choreographic inventions used in musical performances certainly found their response in the activities of theatrical choreographers of Ukraine in the modern environment. We consider the prospects for further research in the study of biographical facts from life, from the legacy of the work of choreographers of Lviv theaters of the 20-21 centuries. All this will provide an opportunity to determine the basis for the formation of the theater-choreographic school of Lviv in particular and Ukraine as a whole.

Sławomir Mrożek at the Tatar stage: the metamorphoses of Polish stage

In this article we analyzed the stage interpretation of Sławomir Mrożek’s play on the scene of Tatar theatre. The performance of “Shashkan babay” (“The mad grandfather”) play was staged on the 10th of February, 2016 by Karim Tinchurin drama and comedy theatre in Kazan. It was the first staging of Sławomir Mrożek’s in Tatar language. In this article we generalize the history of Sławomir Mrożek’s plays production waves in Russia. The specifics of Polish text interpretation by producer Rashid Zagidullin was outlined. We proved that “Shashkan babay” play production continues the best tradition of Russian and Polish theatres.