Dramatic Theory Research Articles

К ВОПРОСУ ОПРЕДЕЛЕНИЯ ИДЕНТИФИКАЦИОННЫХ ЦЕННОСТЕЙ СЦЕНИЧЕСКОЙ РЕЧЕВОЙ КУЛЬТУРЫ

The relevance of the article is due to the conflict of values reflected in the theatrical forms of postmodernism and the performances of the domestic drama theater. The definition of the concept of "value" is clarified in relation to the theodicy of the Russian religious and philosophical problematics. The identification values of the stage speech culture are determined, as well as their main characteristics in the conditions of historical, socio-cultural and artistic transformations are revealed. The essential values are indicated by: literary centrism, lexico-stylistic normativity, speech dramatism.

Tekstovi Stevana Pešića za lutkarsko i dramsko pozorište za decu u oku kritike 70-ih i 80-ih godina 20. veka - prilog istraživanju kritičke recepcije Pešićeve dramaturgije

This study explores the critical reception of Stevan Pešić's numerous texts written for puppet and drama theater for children, such as Legenda o Bošku Buhi, Vesela kuća, Guska na Mesecu, Jedne noći u Novome Sadu, Grad sa zečjim ušima, Krilata krava, Ptice, Lovačka priča, Ništa bez konja, Pet mesečevih cvetova, Braća Grim, Pinokio, Mocart i kompanija, Priča o repi, Čudno čudo, Velimir i Bosiljka, Čudesni vinograd, Bor visok do neba, Petao sa repom duginih boja, Plava ptica, and more. Many of these works were performed on stages across Yugoslavia, some were published, awarded, and even translated, emphasizing Pešić's significant influence in the literary and artistic expression of the second half of the 20th century. Through an analysis of critical comments published in periodicals and other sources during the 1970s and 1980s, this study highlights various opinions on Pešić's texts, including their communicativeness with children, his dramaturgical skill, and his poetic style, which encompassed elements of surrealism, the miraculous, fairytales, grotesque, absurdity, and dreamlike qualities. Examining how critics perceived Pešić's work becomes a crucial aspect of identifying and evaluating the key features of his dramaturgy, determining his place in literary and theatrical trends, and understanding his writer's originality. Moreover, the reception horizon provided by these critical assessments serves as an incentive for further research into Pešić's contributions, the broader tendencies in puppet and drama art for children, and the approaches adopted by the critics who engaged with it.

МАРІУПОЛЬСЬКА ДРАМА: МЕМОРАТИВНІ ПРАКТИКИ, СВІДЧЕННЯ, ІДЕНТИЧНІСТЬ, ТЕАТРАЛЬНИЙ КОД

The article examines the dramatic work "Mariupol Drama", created by Transcarpathian playwright Oleksandr Gavrosh based on interviews with actors Igor Kitrysh, Olena Bila, Dmytro Murantsev, Vira Lebedynska, who survived the bombing of the theater building in Mariupol and are now reviving the Ukrainian Mariupol Theater in Uzhhorod. It was found that the play was not intended to be performed on the stages of other theaters by other professional actors, so it is not printed and is not included in open electronic anthologies of modern dramatic works about the war. This is one of the first attempts to dramaturgically and theatrically memorize the tragedy of the Mariupol Theater as a Russian crime against humanity and as a war crime. Therefore, it is logical to apply the optics of memory studies to the interpretation of this work and place the "Mariupol drama" in the context of other visual artefacts of the marker identification of the memorial remembrance about the Mariupol drama theater (radio film-podcast "Let's meet at the Drama", investigative film "Russian Airstrike on the Mariupol Drama Theater, Part 1. City in the Theater", 3-D tour of the Mariupol Drama Theater, video interviews with eyewitnesses from various human rights groups) and about the tragedy of Mariupol in general (documentaries "Mariupol. Unlost hope", "Mariupol... out of the zone", "Mariupol. Chronicles of Hell", "We stepped over corpses", "Mariupol. Human stories", "20 days in Mariupol", "Mariupol 2"). It was established that the leading intentions of the "Mariupol Drama" correspond to a large array of documentary and commemorative sources, many of which appeared before the anniversary of the tragedy of the Mariupol Theater. It was found out that the playwright and actors managed to fully implement several discourses very important for the Ukrainian collective memory in a small dramatic work: Mariupol, which resisted the aggressor while being completely surrounded; wars as unprocessed collective traumas and cancellation of narratives imposed by Russian propaganda; of the new collective Ukrainian identity, which is formed in this war; after all, the theater as a special mystical space. Unlike the story about the building of the theater, from which only a ruined facade remains, the story of the human community inside this building is endowed with a colossal vitalistic potential, largely connected with how a new collective Ukrainian identity emerges in the crucible of war in a former pro-Russian city. Since crimes against humanity, as well as war crimes, do not have a statute of limitations, and their fixation and research are very important for further work with collective memory and the traumatic past, the documentary play "Mariupol Drama" is a valuable artistic material for modern Ukrainian studies of memory, which are quickly included in the development of the events of the new phase of the Russian-Ukrainian war, offer relevant angles of their interpretations, supported by eyewitness accounts and documentary commemorative practices. Key words: war, theater, identity, memory, collective trauma, coming of age of a nation, commemoration.

LARISA KADYROVA: LITTLE SIDES OF ARTISTIC TALENT (SKETCHES FOR A CREATIVE PORTRAIT OF THE NATIONAL ARTIST OF UKRAINE ON THE OCCASION OF THE 80TH ANNIVERSARY)

The article is dedicated to the anniversary of People’s Artist of Ukraine Larisa Kadyrova and the celebrations held on this occasion at the Kyiv Academic Workshop of Theater Arts “Constellation” (September 15, 2023). The performance “Chopin’s Secret” based on the novel “Madame Pylinska and Chopin’s Secret” by E.-E. Schmitt (translated by Ivan Ryabchii) with the participation of the actress, the celebrations began in Kyiv. The creative activity and iconic roles of the outstanding Ukrainian actress L. Kadyrova during her work in the Lviv Ukrainian Drama Theater named after M. Zankovetska (1963–1993) and from 1993 – in the National Ukrainian Drama Theater named after I. Franko are briefly analyzed. In addition to the general characteristics of the actor’s work, emphasis is also placed on the artistic-administrative, cultural, and pedagogical activities of the artist, which was especially vividly manifested in the Kyiv period. For seventeen years (2004–2021), Larisa Kadyrova was the initiator and organizer (on the basis of the Kyiv Ivan Franko National Theater) of holding the only international theater festival of women’s monodramas “Maria” in Ukraine, which became an important sign of the openness of the cultural and artistic space of independent Ukraine for theatrical Europe and the world. The article singles out the most important things that Larisa Kadyrova gained and brought to the socio-cultural and spiritual life of independent Ukraine, and also emphasizes her civic position in the conditions of the Russian–Ukrainian war. On the example of a wide spectrum of creativity, the significant contribution of the artist to the development of national-centric Ukraine is shown.

Повседневная жизнь Барнаула в годы Великой Отечественной войны

The article’s purpose is to analyze the everyday life of the administrative center of the Altai Territory Barnaul during the Great Patriotic War. The question is not yet explored in the literature. The city became one of the major centers for the location of evacuated industrial enterprises from Leningrad, Stalingrad, Kharkov, Lugansk and other cities of the European part of the USSR, as well as hospitals, cultural and educational institutions. On the arrived equipment basis, defense plants as Transmash, Machine-tool, Boiler, Mechanical presses and others were built and put into operation in a short time. The issues of the local authorities’ activities for the placement of new enterprises and institutions in the city, the solution of the housing problem, the formation of workers and employees collectives are considered. It is shown that the personnel were formed not only from the evacuated, but also the local urban and rural population. The changes in the higher and secondary special education spheres which were caused by the placement of evacuated educational institutions are concidered. Important changes have taken place in the culture, because of the location of two evacuated theaters (Moscow Chamber Theater and Dnepropetrovsk Drama Theater) and circus in Barnaul. Attention is drawn to the work of parks and cinemas in wartime conditions. Attention is drawn to the functioning of parks and cinemas in wartime conditions. The situation with the food supply of citizens and the role of subsistence farms is analyzed. The article uses archival and published sources, including ones of private origin. The author concluded that during the war years the city turned into a significant industrial, educational and cultural center of the south of Western Siberia.

Inconsistencies in the Reliable Operation of the Cultural Heritage Object - the Chuvash Drama Theater Named After K.V. Ivanov

Inconsistencies in the Reliable Operation of the Cultural Heritage Object - the Chuvash Drama Theater Named After K.V. Ivanov

DOCUMENTS OF THE PERSONAL FUND OF THE ACTOR O.O. MARKOV AS A HISTORICAL SOURCE ON THE HISTORY OF CREATIVE INTELLIGENTSIA OF SAMARA IN THE SOVIET PERIOD

The article considers the biography of O.O. Markov (1889-1972), actor of the Kuibyshev Drama Theater, teacher, head of the drama studio of the Kuibyshev Palace of Pioneers, the personal fund of O.O. Markov in the Central State Archive of the Samara region is analyzed, the historical and informational potential of the foundation's documents for concrete historical research on the history of the creative intelligentsia of Samara in the Soviet period is determined.

Between duty and contingency. On some figures of the humanistic tradition in Kant

One must distinguish between the Enlightenment concept and the humanistic concept of humanity. The former indicates a universal deontological ideal; the latter a selective set of personal and social virtues. Kant is a champion of Enlightenment but inherits various aspects of the humanistic tradition that began at the end of the fourteenth century. This tradition, which largely coincides with the so-calledHofliteratur, eclectically combines elements of ancient and Christian ethics and adds a strong pedagogical, aesthetic and socio-political trait to outline a secular morality of self-government. After briefly presenting the Enlightenment “humanist family”, the article examines some figures of the humanistic tradition present in Kantian ethics: theWeltbürger, self-improvement andhumanitas. Through them I show the substantial role of education, taste and social interplay. They converge in the sphere of pragmatic anthropology, the moment morals become involved in the dramatic theatre of the world with its dialectic and rhetoric of appearance. Here the ethics of the imperative intersect with ethics as prudence and the art of living. Rational freedom intersects with the contingency of reality and the inscrutability of the psyche. Morality becomes more impure, but also richer and more suited to take up the challenge of being human.

The first Azerbaijani theater founded in Irevan – past and present of Irevan State Azerbaijan Dramatic Theatre

The first Azerbaijani theater founded in Irevan – past and present of Irevan State Azerbaijan Dramatic Theatre

Литературный поединок Екатерины II и Густава III: драматические сочинения монархов во время Русско-шведской войны (1788–1790)

Russian Empress Catherine II and Swedish King Gustav III were not only relatives (cousins), but also related by an adherence to the ideas of enlightened absolutism, a love for philosophy, literature, and theatre. Both monarchs were playwrights actively engaged in the production of their plays. During the Russo-Swedish War (1788–1790), Catherine II wrote the play, “Woeful Knight Kosometovich” (1788), a pamphlet on Gustav III that was staged as an opéra comique at the Hermitage Theatre in January of 1789. In his turn, Gustav III composed the musical comedy “Alexey Mikhailovich and Natalia Naryshkin” (1789), that idealized the Russian tsar and was staged at the Royal Dramatic Theatre in January of 1790. By Catherine II’s appeal to Russian folklore in her play and Gustav III’s appeal to the 17th-century Russian history in his comedy, each monarch contributed to the creation of the political myths that formed the rulers’ images, promoted their state ideology, and indicated the direction of their national theatres’ further development. These dramatic works of Catherine II and Gustav III deserve special attention because they refer to particular people and circumstances, which contemporary spectators easily identified. The detailed stage directions of the royal playwrights allow one to consider their different directing styles. The author contrasts the approach of stage direction usage by Catherine II and Gustav III and draws the conclusion that the Swedish King shows more experience and foresight than the Russian Empress as a stage director.

“The Past Must Be Given a Place”: Migration, Intergenerational Transfer, and Cultural Memory Practices in Belgian Families of Hungarian Descent

This article investigates the intergenerational effects of migration on the memories of Belgian families of Hungarian origin, focusing specifically on how these effects can prompt the second and third generations of migrant families to bring their private memories and identity constructions into the public sphere. Their social participation becomes a crucial element in their quest to uncover their families’ histories. While the memory of the migration experience was initially contained in the “archive” (the private sphere), it eventually transitions into the “canon” (the public sphere), becoming accessible to those outside the family circle. Using published biographies of second-generation members about their immigrant parents, photographic images, texts of a theatre play, group conversations on social media (Facebook), and interviews with members of the second and third generations, this article offers a varied source material to explore these questions. By pushing the boundaries of historical research and memory studies, it demonstrates that the memories of migration can have long-lasting effects that connect people and families with larger communities and the social sphere.

Mobilizowanie i relatywizowanie przemocy. Interakcyjny wymiar przemocy w stojącej przed dylematem moralnym grupie, w której pozycja żadnej osoby nie jest uprzywilejowana

Using the perspectives of microsociology, ethnomethodology and Goffman's sociology, the author analyzes the relationship between artificiality (theatricality) of decision-making, the affective dynamic of a laboratory situation (the theatre stage) and interactions between participants. In order to uncover silent methods of coordinating actions (contrary to overtly adhering to institutional rules), I decide to use an innovative methodology. Together with performance artists, I created a simulation of a research situation (an interactive theatre play), in which six people are faced with a moral dillema. The interactions were filmed and analysed with the use of a videograph. No person's position was privileged. What happens when two strangers, occupying an equal position, face a moral dillema? The article focuses on an analysis of violence, which appears in groups or violence which the groups have to face. The author demonstrates how violence is used in social circumstances and rendered relative in order to maintain an interactional order.

Theater play named “Endless Night” met with Üsküdar art lovers…

Theater play named “Endless Night” met with Üsküdar art lovers…

The innovative solution of speaking in class in several subjects, the case of environmental protection in Morocco

Oral activity is one of the fundamental components of the didactic sequence. This shows its importance in the teaching/learning of French. This study deals with the issue of speaking in class, in oral session. It is part of the field of oral didactics and focuses on the development of verbal production skills through the use of theatrical play. The problem related to this research is the following: what is the contribution of theatre for oral speaking in French class in qualifying high school? To respond to the problem raised and achieve the objectives of the research, we based ourselves on a field survey. Teachers’ responses stated that theatre is a means of promoting classroom speaking during oral activity.

The Dilemma and Innovation of Network Talk Shows from the Perspective of Drama Theory—Take the Construction of Harmonious Society in Only Three Days Visible as an Example

The Dilemma and Innovation of Network Talk Shows from the Perspective of Drama Theory—Take the Construction of Harmonious Society in Only Three Days Visible as an Example

A Minimal Metaphysics for Scientific Practice

<i>A Minimal Metaphysics for Scientific Practice</i>

The genre diversity of Azerbaijani dramatic theory during independence period

The genre diversity of Azerbaijani dramatic theory during independence period

Токумаланы Жагъафарны чыгъармачылыгъыны суратлау аулакълары

The article examines the literary heritage of the famous Balkarian writer, playwright Zhagafar Tokumayev. The main purpose of the work is to fully present the panorama of the creative work of the master of the artistic word, to determine its role in the evolution of national written literature. The article is preceded by a short autobiographical reference focusing on the influence of the writ-er's life experience on the formation and development of his artistic consciousness. Tokumayev's creativity is considered from the point of view of genre, thematic diversity, the ethnocultural specificity of his works is determined. Analysis of the author's aesthetic experience in small and medium epic forms (stories "Agronomist", "Mistake", "Courage", "Investigator's Story"; the sto-ries "The fate of the orphan", "Descendants of the sleds", "The Pass") it shows a wide thematic range (istroic, moral, social, household, detective) of works, reveals characteristic artistic features (the connection of times, the evolution of consciousness of the main actors at the sharp fractures of history and in extraordinary life circumstances). The article focuses on the trilogy of J. Toku-maeva's "Dagger of Revenge", recognized as the first experience of artistic cyclization in Balkar novelistics. The constructive role of Zh is also noted. Tokumaeva in the development of drama and stage art (comedies "Imaginary authority", "Shadows", "Jamilya", "Chonai marries", included in the "golden fund" of the repertoire of the Balkarian State Drama Theater named after K. Kuli-yev). The versatility of the writer's talent is evidenced by children's prose ("The Stories of Aldar-bek from Kurnayat"), humorous miniatures ("Mocker Chonai"). As a result of the study, the au-thor's desire throughout his creative life to expand genre-thematic horizons in understanding artis-tic reality, which subsequently contributed to the enrichment of the spiritual culture of the Balka-rian ethnic group.

Teaching and learning online through performing arts. Puppetry as a pedagogical tool in higher education

Due to the coronavirus disease 2019 (COVID-19) pandemic, a Swiss university course called “Psychology and Migration” had to move online over the Spring semester 2021. In this course, Psychology and Education students learn about the sociocultural considerations of migration, through a theoretical, personal and artistic exploration of the subjective experience of migration, based on performing arts. As part of the main pedagogical strategies, students are invited to collectively create a short theatre play based on some selected literary texts. Under the conditions imposed by the pandemic, puppetry arts were chosen as a new tool for distance-learning. Collaborating with theatre professionals, the students created a short play, and performed it online using sock puppets, image theatre or object theatre. Using data collected during the course (video recordings of online sessions and students’ diaries), this article explores the critical process of reduction and expansion, and the (potentially) productive tensions that the course creates. It analyses two main appropriation modes for course students: in adaptative appropriation, students aim to reduce these tensions by adapting to the perceived expectations of teachers; in transformative appropriation, students creatively use possibilities offered by the course to conduct a personal exploration, integrating theories with their own experiences and questions.

Obraz i tekst. Na wysokiej górze. Commedia della lingua Krystyny Miłobędzkiej w ilustracjach Iwony Chmielewskiej

A fragment of Krystyna Miłobędzka’s theatre play for children Na wysokiej górze. Commedia della lingua (1990) was published separately (2014, 2017) as a work of both Krystyna Miłobędzka and Iwona Chmielewska, an author of picture books. Chmielewska tones down the word play in Miłobędzka’s text. Instead, she introduces images of the poet at different ages, depicted in contemplative poses, and presents the character’s epiphanic experience beyond time and space. The images and the text constitute separate, sylleptic sequences. The meditative atmosphere of Chmielewska’s illustrations adequately conveys the worldview of Miłobędzka – a “linguistic” poet, who refers to the poetry of the Far East.