problems of fulfilling the culture formation potential of modern russian theater

The article focuses on the essential components of the contemporary theatrical process. The problems of drama and its recessionary trends are identified. Special attention is paid to the issue of values and ideals in dramaturgical work and significance for the further activity conducted by theaters. One of the pivotal aspects in the improvement of theaters’ work identified in the article is the task of optimization of the interaction between these institutions with the audience. The authors also examine the problems of modern theater directing that matter in terms of fulfilling the cultural and creative potential of modern Russian theaters. The authors associate the prospects of further improvement of the system of establishing theaters as cultural institutions with taking advantage of the opportunities for creating a more effective interaction between theater professionals and specialists working in the sphere of education.

WAYS OF SEARCHING FOR A MODERN THEME IN THE THEATRICAL ART OF DAGESTAN

The article deals with the search for a modern theme and images in the drama and theater of the early 21st century both on the scale of the Russian theater and in the Dagestan drama. On specific examples from the practice of creative activity of the theaters of the republic for two decades of the XXI century, ways and means of solving the problem are identified.

The uniqueness of theatrical memoiristics of T. L. Shchepkina-Kupernik

The subject of this research is the memoir heritage of Tatiana Lvovna Shchepkina-Kupernik. The novelty is defined by the absence of works dedicated specifically to the theatrical memoirs of Tatiana Lvovna Shchepkina-Kupernik. This article examines her memoiristics as part of the history of Russian theater, which allows the researchers to determine the author's contribution to the Russian theater studies. The goal of this consists in drawing attention of the audience and researchers to the memoiristics of Tatiana Lvovna Shchepkina-Kupernik, as well as in describing the role of her theatrical memoirs within the Russian literary studies and the history of Russian theater. Analysis is conducted on the key peculiarities of the memoir heritage of T. L. Shchepkina-Kupernik: stylistic uniqueness, attention to details of the theatrical culture, mastery of sculptural portraits. The author also reveals fascinating rare facts about the prominent figures of art and theatrical events of the late XIX – early XX centuries. The conclusion is made that the memoirs of T. L. Shchepkina-Kupernik represent a rich source on the history of Russian theatre. The details of theatrical culture, in-depth analysis of acting, portraits of the outstanding figures of Russian and foreign culture – all these facts makes her memoir heritage an invaluable material that contributes to the study of the Russian theatrical art.

TRIUMPH OF MEMORY: PERFORMANCES BASED ON SEBALD’S PROSE IN RUSSIAN THEATRE

The article is focused on the reception of W.G. Sebald’s work (1944–2001) in Russia. The paper examines the first interpretation of the German writer’s prose on Russian theater scene. The play “Austerlitz” based on his novel of the same name was staged by director Evgenia Safonova in 2019 at the Tovstonogov Bolshoi Drama Theater (St. Petersburg). The paper analyzes the historical and cultural contexts of the production, particulars of the director’s interpretation of the literary material, and responses to the performance from theater critics. What information about the German writer do the reviewers provide their readers with? How relevant and significant is the staging of Sebald’s prose for theatrical life in Russia today? The answers to these questions are given in the article, and they clarify the perception of the writer’s work in Russia, and contribute to the general knowledge about RussianGerman cultural ties in the 21st century.

The Reduce to Dostoevsky’s Artistic Mastery.The Brothers Karamazov and The Devils on the Stage of the Moscow Art Theater and in the Russian Press

The article is dedicated to the history of the Moscow Art Theater productions in 1913–1914 based on F.M. Dostoevsky’s novels The Brothers Karamazov and The Devils, and to the fierce controversy that surrounded them. It analyzes the problem of finding an adequate stage form for the two novels, and the story of the birth of the so-called “Dostoevsky theater” and the Director’s theater, now dominating the stage. Despite Dostoevsky’s great interest in theater and his brother’s witness that the future novelist’s literary activity began with three (unfortunately lost) dramatic works, the writer himself was far from being confident that theatrical productions of his novels could be a success. The founders of the Moscow Art Theater challenged this opinion and proved that Dostoevsky’s novels could write a new page in the history of Russian theater. The article analyzes in detail newspaper and magazine reviews of the performances directed by Vladimir Nemirovich-Danchenko.

Art of theater direction in the 20th–21st centuries

We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwright – the organizer of the performance – the teacher and educator of the theatrical collective. We conduct an analysis of directing schools allow us to draw the following conclusions. Firstly, the Russian theater at the turn of the 20th–21st centuries managed to preserve its traditions even in the conditions of the most powerful computer and television boom. Secondly, the theater continued to occupy one of the leading places in the spiritual, moral and aesthetic edu-cation of society. Thirdly, the direction of domestic theater adopted and multiplied the best tradi-tions of realistic art, coming from K. Stanislavsky, V. Nemirovich-Danchenko, E. Vakhtangov, M. Chekhov, taking into account modern trends and interests of the audience. Fourthly, there was an active search for new forms in directing and acting, experimental theaters and studios were formed. Fifthly, a huge place in directing was given to the production of classics. We note that the period under review provided an opportunity to fully reveal the originality in directing and acting.

The Myth of a Failure of the First Staging Chekhov’s “The Seagull”

The idea of the “failure” of the first production of A.P. Chekhov’s “The Seagull” at the Alexandrinsky Theater is far from certain. After the relative failure of the premiere performance, painfully perceived by Chekhov himself, but, incidentally, marked by the wonderful performance of Vera Komissarzhevskaya, the first production of the play had an ordinary and even quite prosperous fate: four more performances, marked by good preparation and increasing theatrical success. As such the idea of a complete “failure” of the first production of “The Seagull” was partly man-made and came not least from the founders, followers and historians of the Moscow Art Theater, for whom it was important to emphasize its role in the creation of the new Russian theater (at the same time diminishing the role of Chekhov himself in it).

The Reduce to Dostoevsky’s Artistic Mastery. The Brothers Karamazov and The Devils on the Stage of the Moscow Art Theater and in the Russian Press

The article is dedicated to the history of the Moscow Art Theater productions in 1913–1914 based on F.M. Dostoevsky’s novels The Brothers Karamazov and The Devils, and to the fierce controversy that surrounded them. It analyzes the problem of finding an adequate stage form for the two novels, and the story of the birth of the so-called “Dostoevsky theater” and the Director’s theater, now dominating the stage. Despite Dostoevsky’s great interest in theater and his brother’s witness that the future novelist’s literary activity began with three (unfortunately lost) dramatic works, the writer himself was far from being confident that theatrical productions of his novels could be a success. The founders of the Moscow Art Theater challenged this opinion and proved that Dostoevsky’s novels could write a new page in the history of Russian theater. The article analyzes in detail newspaper and magazine reviews of the performances directed by Vladimir Nemirovich-Danchenko.

Foolishness in Modern Russian Theater (Based on the Director's Concept of Lev Ehrenburg)

The article examines the foolishness as one of the ways of a new representation of reality in art on the example of the director’s concept of Lev Ehrenburg. The author analyzes the performances of the Nebolshoy Drama Theater in St. Petersburg in the 1990-2010s, tracing the influence of the aesthetic paradigm of foolishness on the director’s method. On the basis of the analysis, the author examines the reflection of the typological features of foolishness in the work of Lev Ehrenburg: belonging to the purl world, the marginality of heroes, the search for a lost paradise, the desire to overcome the boundaries of one’s own “I”. The author indicates the possibilities for further in-depth study of the issue, in which the aesthetic paradigm of foolishness can be considered in connection with the concept of total theatricality of Nikolai Evreinov, the performative turn in modern theater, as well as in other director’s concepts (N. Kolyada, A. Artemov, K. Bogomolov, A. Adasinsky).