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E-mail: akademizdat1@yandex.ru
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ISSN 19987099


77-47147 03.11.2011

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: e-mail alexa.m.v@mail.ru

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: e-mail juravasiljev@mail.ru

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: e-mail golovchiner@mail.ru

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: e-mail aliceiva@hotmail.com

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: e-mail rapannakonstantinova@gmail.com

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: e-mail tekuzovleva@mail.ru

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: e-mail vadim_maksimov@mail.ru

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: e-mail naruth@mail.ru
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Authors

Alexandra Varenikova
PhD (Arts), resides in Germany.
Contacts: e-mail alexa.m.v@mail.ru
Yury Vasiljev
PhD (Arts), professor, Dept. of Stage Voice and Speech, St. Peters
burg State Theatre Arts Academy.
Contacts: e-mail juravasiljev@mail.ru
Valentina Golovchiner
Dr. Sc. (Philology), professor, Tomsk State Pedagogical University.
Contacts: e-mail golovchiner@mail.ru
Alice Ivanova
senior lecturer, Dept. of Acting, St. Petersburg State Theatre Arts
Academy.
Contacts: e-mail aliceiva@hotmail.com
Anna Konstantinova
doctorant student, Dept. of Russian Theatre Studies, St. Petersburg
State Theatre Arts Academy.
Contacts: e-mail rapannakonstantinova@gmail.com
Tatyana Kuzovleva
PhD (Arts), associate professor, Dept. of Russian Theatre Studies,
St. Petersburg State Theatre Arts Academy.
Contacts: e-mail tekuzovleva@mail.ru
Vadim Maximov
Dr. Sc. (Arts), Chair, Dept. of Foreign Art Studies, St. Petersburg
State Theatre Arts Academy.
Contacts: e-mail vadim_maksimov@mail.ru
Natalia Shcherbakova
doctorant student, Dept. of Russian Theatre Studies, St. Petersburg
State Theatre Arts Academy.
Contacts: e-mail naruth@mail.ru

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Summary

Vadim Maximov
Actor in Tradition of AntoninArtauds Method
In 1960s Gilles Deleuze suggested to divide theatre into two types:
theatre of repetition and theatre of representation. We may recognize
theatre of repetition in Artauds method and in the new tradition that
was developed in the 2nd half of the 20th C.This paper is the research of
acting techniques and stage presence in this kind of theatre in work of
Peter Brook, Charles Marovitz, Jerzy Grotowski, Eugenio Barba, Luca
Ronconi, Eimuntas Nekrosius, Russian Engineering Theatere AKHE.
Key words:
Theeatre of Representation, Theatre of Repetition,

Gilles Deleuze, psychologic theatre,

post-dramatic theatre, theatre of cruelty, Antonin Artaud,

acting.
Alice Ivanova
Michael Chekhov: Anthroposophy and Search for Spiritual Path
Author focuses her study on the attempts of Michael Chekhov to find
the way out of deep mental crisis and his finding the spiritual coordinates
in the Anthroposophy of Rudolf Steiner. Author of this paper reveals
association of Christian-anthroposophy beliefs of Michael Chekhov and
his work in directing and teaching theatre. The legacy of the personality
of Steiner and of his spiritual teaching on Russian intelligentsia in the
beginning of the 20th Century is explained in this paper.
Key words:
Michael Chekhov, Rudolf Steiner, Andrei Bely,

Anthroposophy, Russian Society of Anthroposophy,

Spiritual path.
Alexandra Varenikova
Karlheinz Martins Productions in Deutsches Theater in 1920
Work of Karlheinz Martin who was the outstanding director of expres
sionist style was never studied sufficiently by Russian theatre researchers.
This article presents the analysis of three productions that were made at
Deutsches Theater in Berlin in 1920, the most successful year of activities
of Martin during period of Expressionism: White Warrior by Hauptmann,
Antigone by Hasenclever, The Ashes by Strindberg, Europe by Keiser.
Key words:
Karlheinz Martin, Deutsches Theater,

Grosses Schauspielhaus, Kammerspiele, Berlin,

German theatre, Expressionism, Directing,

Synthetic Theatre.

127

Valentina Golovchiner
Helen of Troy: Problem of Identification of Leningrad Text
by Vladimir Mass and Nikolai Erdman
Controversial production of Offenbachs operetta Helen of Troy was
produced in 1931 at Maly Opera Theatre in Leningrad by director Nikolai
Petrov, set designer Nikolai Akimov, conductor Samuil Samosud,
choreographer Natalia Glan. This performance is analyzed on the
background of general tendencies of European drama of the first half of
the 20th Century, and in the context of work of Nikolai Erdman who
created (together with co-author Vladimir Mass) libretto that totally
differed from the French original libretto. Authors have changed the plot
and turned it into a piece of political satire.
Key words:
Jacques Offenbach, Helen of Troy, operetta,

Nikolai Erdman, Vladimir Mass, Maly Opera Theatre,

Nikolai Petrov, Nikolai Akimov.
Anna Konstantinova
From the Person to the Person. Five years
of Kaunas Pantomime Studio
The paper is research of Kaunas Pantomime Studio that was founded by
the graphic designer and theatre director Modris Tenison. This unique
theatre of 1970s did not have response of theatre criticism and never was
sufficiently researched in theatre studies. Legacy of Tenison is in bringing
the art of pantomime out of variety show framework to the largescale
theatre form. Tenisons work was based on artistic experiments of
Mikalojus Konstantinas iurlionis in the art of synthesis, style devices
of Marcel Marceau, theatre of Jerzy Grotowski, movement concept of
productions directed by Henryk Tomoszewski.
Key words:
Modris Tenison, Robert Lieger, Henryk Tomoszewski,

Lithuanian Pantomime, physical theatre.
Tatyana Kuzovleva
Centenary of The Rite of Spring
During 100 years miscellaneous versions of Igor Stravinskys ballet The
Rite of Spring were created starting from the production created by Vaslav
Nijinski and Nikolai Roerich that became the symbol and the starting
poind for modernism in ballet theatre. In the history of other
interpretations that includes moderate, innovative and controversial
ones, some may be specifically mentioned: performance by Maurice Bejart
in ballet, and performance in tanz theater by Pina Bausch. Other

128

productions may be noted: by Neumeier, by Preljocaj, by Contreras, by


Panfilov, by Pandurski, by Ekk, by Scholz and other choreographers.
Key words:
The Rite of Spring, Igor Stravinsk, Vaslav Nijinski,

Maurice Bejart, Pina Bausch, ballet, tanz theater,

modernism, postmodernism, interpretation.
Natalia Shcherbakova
Ritual as the Element of Theatre Aesthetics of Nikolai Kolyada
The subject of research is the way of use of ritual elements in Kolyada
Theatre at all levels of composition of performance in the plot, in the
form, in the system of characters, in composition, in language. Examples
from productions made on the basis of classical and original plays by
Kolyada himself may prove the specific impact on spectator through
rhythm, movement style, vital energy of physicality. We may see the
connections of theatricality and ritual in Kolyadas aesthetics.
Key words:
Nikolai Kolyada, ritual, author, myth, fair ground booth,

plot, theatre of open playing.
Evgeny Shvarts
Letters to Vera Sandberg and to Leonid Makaryev, 19271928
Publication, introduction, comments and afterword by Yury Vasiljev
Letters from Evgeny Shvarts to the actors of Leningrad Theatre for
Young Spectators make precious documentation of the life and of the
creative work of the outstanding playwright and writer. That letters
reflect the colorful atmosphere of the cultural life in Leningrad in the
second half of the 1920s, and they display qualities of Shvartss wtiting
style. In introduction, comments and afterword you may find information
about the addressees of the letters and people who are mentioned, and
about the specific features of this period in the life of Shavarts.
Key words:
Evgeny Shvarts, Vera Sandberg, Leonid Makaryev,

Samuil Marshak, Evgeny Gakkel, Elena Elagina,

Leningrad Theatre for Young Spectators,

Gosizdat Publishing House, acting, Soviet literature.


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