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TURBA ◽  
2022 ◽  
Vol 1 (1) ◽  
pp. 95-102

It is perhaps more relevant now than ever before to prepare the ground for a pedagogical discussion on theater curation. Theater festivals have recently become prominent in India. It is true that India has cherished a ubiquitous tradition of festivals—utsavs and mahotsavs—for hundreds of years. Take, for example, the staging of Kudiyattam at ancient Sanskrit koothambalams, which would last several weeks in a festival atmosphere; the touring circuit of Assam mobile theater, which has created festival-like events since the 1950s; or the Marathi (political) theater, which has an active culture of more than a century of traveling and festival-like events. These are not the kind of festivals I am interested in for the purpose of this article—they have a “traditional” logic built into their purpose—but the kind that have emerged along secular lines in post-independent and urban India. These “new” theater festivals are primarily sponsored by the state, are supported by public funds at the regional and national level, and are therefore open to public participation and scrutiny. These festivals, wherever they are held, commonly include a multilingual and multicultural itinerary of plays. The intent behind the selection is largely driven by the post-colonial project, which is to “put together” an idea of modern India by including plays that have a critical outlook—these could be contemporary scripts, modern adaptations of classical plays, and works that explore contemporary vocabularies of performance (body-based, post-dramatic, experimental, etc.). Currently, India has over a dozen of these new theater festivals of varying scale; each running annually, each claiming to show the best of contemporary theater. In the absence of a touring circuit, these festivals provide artists with the opportunity to travel, to seek new audiences, to mingle with peers and masters, to be written about, and to woo award committees. Festivals are now doing for theater what exhibitions have done for visual art; they are highly visible events that offer immense resources and the promise of further influence. Festivals seem to bestow legitimacy on artistic work of a kind not seen before.


2020 ◽  
Vol 17 (5) ◽  
pp. 526-537
Author(s):  
Asya F. Veksler

Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.


2020 ◽  
pp. 157-168
Author(s):  
E.I. Goncharova

The article examines the early stage of cooperation between the writer and philosopher P.P. Pertsov and the conservative newspaper Novoe Vremya (1868–1917). Fragments of Pertsov's archival correspondence with the philosophical writer V.V. Rozanov, Pertsov's father and the critic of the liberal magazine «Russian wealth» A.G. Gornfeld are partially introduced into scientific circulation. The author analyzes the reasons for Pertsov's difficult attitude to the publisher and editor of Novoye Vremya, the playwright and founder of the Maly theater in St. Petersburg, A.S. Suvorin. The author substantiates the conclusion about Pertsov's fundamental differences related to the position of Novoye Vremya in the case of the French officer A. Dreyfus. An overview of Pertsov's publications in the newspaper related to the beginning of his collaboration with the newspaper is given. The author traces the evolution of the attitude of a young critic, a liberal in the recent past, to the «New time». Russian Russian theater and drama is the first time that Pertsov's correspondence with A. Suvorin is introduced into scientific circulation, filled with reflections on Russian theater and Russian dramaturgy. The letters discuss Pertsov's theatrical articles: «About the new theater» (about the production of a play by the German playwright G. Gauptmana «Lonely») and «a Satire or a drama» (about productions of new plays by A.P. Chekhov). Pertsov and Suvorin discuss performances of the Art public theater (Moscow art theater), which opened in Moscow in 1898. In a polemic with a young critic, Suvorin defended the national theater, represented by plays by Russian playwrights, primarily A.N. Ostrovsky. Pertsov advocated a new theater, focused primarily on the production of plays by modern playwrights regardless of their nationality.


Perichoresis ◽  
2020 ◽  
Vol 18 (4) ◽  
pp. 41-61
Author(s):  
Yael Valier

AbstractIn the context of the launch of a new theater company whose mission is to bring entertaining theological content to audiences in and around Jerusalem, Roy Doliner’s Divine Right was chosen as the company’s first production. This play about the Disputation of Barcelona balances historical accuracy and creative dramatic content in a satisfying and intellectually honest portrayal of the events of the Disputation for educated lay audiences. Many theological and dramaturgical issues arise, especially in producing a play with a high level of Christian content and theology for mainly Orthodox or at least traditionally educated Jewish audiences. English speaking audience members in Jerusalem tend to be well-informed, both on the historical level and on the level of Jewish law and mores. This makes them exacting viewers, critical of inaccuracies of history or interpretation, wary of challenging positions but mostly willing to learn, and delighted by thorough research and characterization. This paper examines the technical, dramaturgical, and theological issues that arose during this production for the playwright, director, actors, and audiences.


Author(s):  
Valeria De Lucca

This chapter considers the years following Lorenzo Onofrio Colonna’s return to Rome in 1681 together with his son Filippo II and his new bride, the young Spanish noblewoman Lorenza de la Cerda. As part of his strategy to affirm his newly acquired political and social power as a former Viceroy over the other aristocratic Roman families, Lorenzo Onofrio commissioned the building of a new theater in his palace. This chapter takes a new look at the ways in which the networks of relationships Lorenzo Onofrio had built over the years made his theater one of the most important stages in the Italian peninsula for the circulation of repertory between Vienna, Venice, Rome, and Naples, as well as of singers. Behind some of the most spectacular productions of the Teatro Colonna was a team of extraordinary architects and men of theaters under the leadership of Filippo Acciaioli and Carlo Fontana.


2020 ◽  
Vol 1 (2) ◽  
pp. 125-138
Author(s):  
Aleksandra Konopko

This short text presents the characteristics of theater works by the director, Jan Klata. I attempt to investigate the changes in contemporary Polish theatrical language. The evolution of theater perception, the expressive aesthetics of Klata’s performances and topics that began the fight not only over the new theater that would be a place of socio-political discourses but also for the new audience. In the introduction I present J. Klata and describe the circumstances that accompanied his theater debut. Thereafter, referring to J. Klata’s staging of classical works, I point out the characteristics of his theater and describe how the phenomenon of reinterpretation functions in contemporary theater. I then try to question the explicit labeling of J. Klata’s works as “post drama theater” or “political theater” by paying special attention to analyzing the director’s works in a social context. This political and social background of J. Klata’s performances contributes to the fact that his work is perceived as one of the leading examples of “engaged theater”. The staging means of expression applied by the director and his often radical interference in the texts of works from the literary canon have encouraged younger directors to make their own daring experiments . What was perceived as “revolutionary” and controversial at the time of J. Klata’s debut, today, only seven years later, has become standard in Polish theater.


2019 ◽  
pp. 101-108
Author(s):  
Galina Brandt

The paper is devoted to exploring the process of reinventing institutional conventions of theatrical art. After describing a series of contemporary performance phenomena, the author uses the “institution” concept from the theory of social construction of reality and methods of deconstruction to identify the distinguishing features of the new theater and/or “postdramatic theater” / or “post-performance turn” theater. The change, as demonstrated in the paper, is primarily connected with the theater’s abandoning its basic mimetic aim, the aim of simulating / depicting reality, i.e. referencing something other than itself, while the performance accordingly ceases to be a text, a carrier of a certain narration, plot and, eventually, an intrinsic sense, a message to the viewer. This abandonment is made necessary by the universal emergence of the media prevalence era that turns everything into a “theater”, so the theater, in its contemporary manifestations, is striving more and more to become “non-theater”. Its trives to be based primarily on what only the theater has: a vital energy of interaction; first of all, interaction between the actor and the viewer, or action participants (who turn out to be both actors and viewers) organized in a certain way, or the energy of the performance space itself, or the energy of its participants’ motion. In conclusion, the author argues that contemporary theater – in fact, just like any institution reinventing its basic concepts – presents a certain anthropological challenge: firstly, it appeals to a different paradigm of perception; secondly, it requires a higher level of agency of the individual perceiving the art.


2019 ◽  
Vol 15 (1) ◽  
pp. 22-27
Author(s):  
Svetlana Khubulova

Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.


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