scholarly journals "GENRE TRADITIONALISM AND SEARCH FOR NEW FORMS IN VALERY BRUSOV’S DRAMA"

2018 ◽  
pp. 215-231
Author(s):  
OLGA STRASHKOVA
Keyword(s):  
Everyday Life ◽  
New Drama

"In V.Brusov’s works drama is presented by all genres and various genre forms: antique tragedy, Shakespeare’s tragedy, a comedy based on parody of a situation and a form, farce, “actual” drama in various historical mystifications, scientific, fantastic and mystic reminiscences, and in the alleged traditions of social dramas of everyday life, innovative forms of “Maeterlinck's drama” and “new drama”, as well as by dramaturgical miniatures: a sketch, a scene, an event, a miracle, farce."

scholarly journals Vsevolod Meyerhold’s Biomechanics and Boris Zakhava's Educational Work

2020 ◽  
Vol 16 (4) ◽  
pp. 58-74
Author(s):  
Herman Marchenko
Keyword(s):  
Everyday Life ◽  
The Other ◽  
Independent Practice ◽  
Educational Work ◽  
Comprehensive Development ◽  
The Difference ◽  
New Drama ◽  
Fantastic Realism ◽  
Moscow Art Theatre ◽  
Konstantin Stanislavski

The article deals with two different approaches to training actors. One of them is Stanislavski’s system, and the other is Meyerhold’s biomechanics. Konstantin Stanislavski and Vladimir Nemirovich-Danchenko are reformers of the Russian theater. As the Art Theater founders, they understood that the emergence of a new drama would require a completely different approach to working with actors and a different design of the stage space. With regard to new performances, it became possible to pose critical social questions related to everyday life before the viewer. Therefore, it was logical that the director's profession became very important. Working on his system, Stanislavski paid great attention to the need for an actor’s comprehensive development. Many wonderful actors who attended his acting school were among the students of this great theater director. Vsevolod Meyerhold was one of them. However, the latter chose his direction and began to engage in staging performances actively and search for new means of expression, having come to an absolute convention on the stage. Meyerhold created his method of working with an actor, known as biomechanics, in the theatrical environment. The principle of this approach is the opposite of Stanislavski's system. With all the difference in views on the theater, in the early stages of Meyerhold's independent practice, Konstantin Stanislavski offered him the opportunity to cooperate, which led Vsevolod Meyerhold to the Studio on Povarskaya Street in Moscow. Evgeny Vakhtangov was another student of Stanislavski and Nemirovich-Danchenko. At the request of Stanislavski, Vakhtangov was engaged in educational work in the studio of Moscow Art Theatre. Unlike Meyerhold, he thoroughly mastered the system and then created his theatrical direction called fantastic realism. Vakhtangov's legacy was preserved thanks to the activities of his students, among whom was Boris Zakhava. He turned to Meyerhold for help and spent several seasons with the master, gaining invaluable experience, including revealing the features of biomechanics in practice. Boris Zakhava remained faithful to Vakhtangov’s principles and continued his teacher’s work at the Shchukin Theater Institute.

“People Eat Their Dinner, Just Eat Their Dinner…”: Food Discourse in Anton Chekhov’s The Three Sisters and Beth Henley’s Crimes of the Heart

2020 ◽  
Vol 20 (2) ◽  
pp. 35-53
Author(s):  
Natalia Vysotska
Keyword(s):  
Everyday Life ◽  
Edmund Husserl ◽  
Food Products ◽  
Anton Chekhov ◽  
Literary Scholarship ◽  
Semiotic Approach ◽  
Contemporary Life ◽  
New Drama ◽  
Three Sisters ◽  
Fernand Braudel

Abstract The essay sets out to explore the functions of food discourse in the plays Three Sisters by Anton Chekhov and Crimes of the Heart by Beth Henley. Based on the critically established continuity between the two plays, the essay looks at the ways the dramatists capitalize on food imagery to achieve their artistic goals. It seemed logical to discuss the alimentary practices within the framework of everyday life studies (Edmund Husserl, Alfred Schütz, Fernand Braudel, Bernhard Waldenfels and others), moved to the forefront of literary scholarship by the anthropological turn in the humanities. Enhanced by a semiotic approach, this perspective enables one to understand food products and consumption manners as performing a variety of functions in each play. Most obviously, they are instrumental in creating the illusion of “everydayness” vital for new drama. Then, for Chekhov, food comes to epitomize the spiritless materiality of contemporary life, while in Henley’s play it is predominantly used, in accordance with the play’s feminist agenda, as a grotesque substitute for the lack of human affection. Relying upon the fundamental cultural distinction between everyday and non-everyday makes it possible to compare representations of festive occasions in the two plays seen through the gastronomical lens of “eating together.” Despite substantial differences, the emphases on alimentary practices in the plays serve to realize the inexhaustible dramatic potential inherent in the minutiae of quotidian life.

scholarly journals GASTRONOMICAL CODE AS ELEMENT OF EVERYDAY LIFE POETICS IN DRAMA TEXTS (ANTON CHEKHOV’S THREE SISTERS AND BETH HENLEY’S CRIMES OF THE HEART)

2021 ◽  
pp. 13-20
Author(s):  
Natalia Vysotska
Keyword(s):  
Everyday Life ◽  
Literary Scholarship ◽  
Semiotic Approach ◽  
Contemporary Life ◽  
New Drama ◽  
Three Sisters

The paper sets out to explore the functions of food discourse in the plays Three Sisters by Anton Chekhovand Crimes of the Heart by Beth Henley. Based on the critically established continuity between the two plays, the paperlooks at the ways the dramatists capitalize on food imagery to achieve their artistic goals. It seemed logical to discuss thealimentary practices within the framework of everyday life studies, moved to the forefront of literary scholarship by theanthropological turn in the humanities. Enhanced by semiotic approach, this perspective enables one to understand foodproducts and consumption manners as performing a variety of functions in each play. Most obviously, they are instrumentalin creating the illusion of «everydayness» vital for new drama. Then, for Chekhov, food comes to epitomize thespiritless materiality of contemporary life, while in Henley’s play it is predominantly used, in accordance with the play’sfeminist agenda, as a grotesque substitute for the lack of human affection. Relying upon the fundamental cultural distinctionbetween everyday and non-everyday makes it possible to compare representations of festive occasions in the twoplays seen through the gastronomical lens of «eating together». Despite substantial differences, the emphases on alimentarypractices in the plays serve to realize the inexhaustible dramatic potential inherent in the minutiae of quotidian life.

scholarly journals Michail Ugarov’s philosophy of theatre in his pre-doc plays (“The newspaper ‘Russian invalid’ dated july 18” and “The death of Ilya Ilyich”)

2020 ◽  
Vol 5 (1) ◽  
pp. 142-157
Author(s):  
E. Kurant ◽  
K. Syska
Keyword(s):  
Everyday Life ◽  
Literary Work ◽  
The Other ◽  
Horizontal Structure ◽  
Classical Drama ◽  
Dramatic Theory ◽  
Zero Position ◽  
Dramatic Text ◽  
New Drama ◽  
The One

The article makes an attempt to analyze some selected plays of Mikhail Ugarov, the founder of the documentary Teatr.doc and the New Drama movement (“The Newspaper ‘Russian Invalid’ Dated July 18” and “The Death of Ilya Ilyich”). Although these plays were written in the so called «pre-doc» period and seem to be entirely different with respect to style and content from verbatim and New Drama aesthetics, they express Ugarov’s most important views on dramatic and theatre art formulated later. In these texts one can find philosophical ideas which subsequently formed the basis of documentary and modern dramatic theory. The author concludes that Ugarov’s early plays have mainly a metaliterary character and can be analyzed as an artistic manifesto in which the playwright elaborates the following ideas: negation of classical drama features (composition, action, character); the horizontal structure of the literary work; “zero-position”; cancellation of an event; rejection of grand narratives; rejection of the author’s will and self-expression; negating art as an entertainment; the documentary approach (attention to the details of everyday life). The author indicates that there is a certain contradiction in Ugarov’s doctrine – on the one hand, he admitted the primacy of the dramatic text over the director, on the other hand, - along with his work as a director and a teacher in the Teatr. doc, he ceased to write plays (after “The Death of Ilya Ilyich” Ugarov wrote only a remake-play, “The Masquerade”, in 2013). During this period he created mostly scenarios based on verbatim material. Therefore, the principle of a traditional dramatic work serving as basis for the theatre performance was being deconstructed, which makes it reasonable to relate the theatre aesthetics of Mikhail Ugarov to the postdramatic paradigm.

Thriving in Academia: Understanding and Managing the Complexities of Faculty Work

2012 ◽  
Vol 15 (2) ◽  
pp. 77-84 ◽  
Author(s):  
Ketevan Mamiseishvili
Keyword(s):  
Higher Education ◽  
Education Research ◽  
Community Engagement ◽  
Everyday Life ◽  
Work Setting ◽  
Higher Education Research ◽  
Faculty Work ◽  
College And University ◽  
Teaching Research ◽  
University Settings

In this paper, I will illustrate the changing nature and complexity of faculty employment in college and university settings. I will use existing higher education research to describe changes in faculty demographics, the escalating demands placed on faculty in the work setting, and challenges that confront professors seeking tenure or administrative advancement. Boyer’s (1990) framework for bringing traditionally marginalized and neglected functions of teaching, service, and community engagement into scholarship is examined as a model for balancing not only teaching, research, and service, but also work with everyday life.

Moving Forward

2011 ◽  
Vol 42 (3) ◽  
pp. 225-230 ◽  
Author(s):  
Janet B. Ruscher
Keyword(s):  
Everyday Life ◽  
Interpersonal Communication ◽  
Spatial Metaphors ◽  
The People ◽  
Stationary Objects ◽  
Study Participants ◽  
Affective Forecasts

Two distinct spatial metaphors for the passage of time can produce disparate judgments about grieving. Under the object-moving metaphor, time seems to move past stationary people, like objects floating past people along a riverbank. Under the people-moving metaphor, time is stationary; people move through time as though they journey on a one-way street, past stationary objects. The people-moving metaphor should encourage the forecast of shorter grieving periods relative to the object-moving metaphor. In the present study, participants either received an object-moving or people-moving prime, then read a brief vignette about a mother whose young son died. Participants made affective forecasts about the mother’s grief intensity and duration, and provided open-ended inferences regarding a return to relative normalcy. Findings support predictions, and are discussed with respect to interpersonal communication and everyday life.

Mental Contrasting of Future and Reality

2010 ◽  
Vol 9 (3) ◽  
pp. 138-144 ◽  
Author(s):  
Gabriele Oettingen ◽  
Doris Mayer ◽  
Babette Brinkmann
Keyword(s):  
Decision Making ◽  
Everyday Life ◽  
Brief Intervention ◽  
Middle Level ◽  
The Other ◽  
Metacognitive Strategy ◽  
Mental Contrasting ◽  
Low Expectations

Mental contrasting of a desired future with present reality leads to expectancy-dependent goal commitments, whereas focusing on the desired future only makes people commit to goals regardless of their high or low expectations for success. In the present brief intervention we randomly assigned middle-level managers (N = 52) to two conditions. Participants in one condition were taught to use mental contrasting regarding their everyday concerns, while participants in the other condition were taught to indulge. Two weeks later, participants in the mental-contrasting condition reported to have fared better in managing their time and decision making during everyday life than those in the indulging condition. By helping people to set expectancy-dependent goals, teaching the metacognitive strategy of mental contrasting can be a cost- and time-effective tool to help people manage the demands of their everyday life.

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