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: darevsky@yandex.ru

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: marquisa-attavanti@yandex.ru

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: hayfaver@gmail.com
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: vadim_maksimov@mail.ru
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Authors

Alexander Darevsky filologist, the editor of the publishing department


of the St. Petersburg State Theatre Library.
: darevsky@yandex.ru
Yuliana Kaminskaya PhD (Philology), associate professor, Dept. of
History of Foreign Literature, the Faculty of Philology, Saint Petersburg
State University.
Contacts: kaminskaja@infoburg.info
Yevgeniya Kiselyova doctorant student, Dept. of Foreign Arts Studies,
Russian State Institute of Performing Arts.
Contacts: marquisa-attavanti@yandex.ru
Natalia Kolotova associate professor, Dept. of Stage Directing in
Drama, Russian State Institute of Performing Arts.
Contacts: hayfaver@gmail.com
Vadim Maksimov Dr. Sc. (Arts), Head of Dept. of Foreign Art Studies,
Russian State Institute of Performing Arts.
Contacts: vadim_maksimov@mail.ru
Olga Maltseva Dr. Sc. (Arts), professor, Dept. of Russian Theatre
Studies, Russian State Institute of Performing Arts; senior researcher,
Russian Institute of History of the Arts.
Contacts: onmalt@gmail.com
Olga Markaryan doctorant student, Dept. of Russian Theatre Studies,
Russian State Institute of Performing Arts.
Contacts: olgamarkaryan@yandex.ru
Galina Titova Dr. Sc. (Arts), professor, Dept. of Russian Theatre
Studies, Russian State Institute of Performing Arts.
Contacts: trikafedry@yandex.ru

119

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Summary

Galina Titova
Trilogy of Plays by Ostrovsky Directed by Meyerhold:
The Storm A Lucrative Post The Forest
This is the first part of vast research by the author. It covers interpretations
of Alexander Ostrovskys plays before Vsevolod Meyerholds staging of
The Storm.
Keywords: Alexander Ostrovsky, Stanislavsky,

Nemirovich-Danchenko, Meyerhold, Apollon Grigoryev,

Pyotr Yartsev, Nikolai Efros, The Snow Girl,

Sin and Sorrow Are Common to All (Grekh da beda na kovo

ne zhiviot) by Ostrovsky (1862), Enough Stupidity in Every

Wise Man (Navsyakogo mudretsa dovolno prostoty) by

Ostrovsky (1868).
William Hazlitt
From Characters of Shakespeares Plays
Timon of Athens, Coriolanus
Foreword by Vadim Maksimov
Two chapters from the research by William Hazlitt (17781839)
Characters of Shakespeares Plays (1817) fill the gap in our knowledge
of Shakespeare studies. Hazlitt outstripped other researchers in
understanding Shakespeare as great creator of drama characters. This is
his innovation as well as setting a canon that formed research trend of
the edge of the 19th and 20th C.These chapters are translated to Russian
for the first time.
Keywords: Shakespeare, Hazlitt, Coriolanus, Timon of Athens,

English theatre.
Yuliana Kaminskaya
Christmas Action, Cauchemar and balalaikas. On Dadaist cabaret
and staging of drama Ein Krippenspiel by Hugo Ball
One of the key events that represent beginning of the movement of Dada
and the style of Cabaret Voltaire in the first decades of the 20th C. was
production of Ein Krippenspiel by Hugo Ball in 1916. When creating this
play the author took the model of traditional pre-Christmas performances.
In the first part of the play the sweet and sentimental style of Christmas
show is represented with ironical and grotesque attitude. Later the style
changes to the spirit of eternal and absolute tragedy. The only staging of
Ein Krippenspiel outside German speaking area was production at Vadim
123

Maksimov Laboratory Theatre (2013). The translation of the play to


Russian made by the author of the paper is attached.
Keywords: contemporary theatre, theatre experiment, Dada, Bruitism,

Simultaneity, music of sound, Swiss literature, cabaret,

Vadim Maksimov Laboratory Theatre.
Olga Maltseva
Returning to the productions of Yuri Lyubimov.
About similarity of the composition of the performance Arabesque
form of a musical work
The paper investigates the performance of Yuri Lyubimov Arabesque
(Taganka Theater, 2009), dedicated to N.Gogol. Scenario productions
created by the director, based on the letters, the writings of Gogol,
primarily included in his collection of Arabesque, on the memories,
letters and articles about him his contemporaries, fragments of poems
of his contemporaries as well as book of Yu. Mann Gogol. Labours
and days: 18091845 and the story of A.Zegers Meeting in the
way. Reconstructing and analyzing the performance, the author comes
to a conclusion about the similarity of his composition of one of musical
forms.
Keywords: Yury Lyubimov, the Taganka Theater,

the composition of the performance,

the performance Arabesque.
Olga Markaryan
Meyerholds Tristan and Isolde
In this article the role of Meyerholds Tristan and Isolde in his arts
evolution is being rethought. The production appears to be the finale of
Meyerholds symbolist period. Just here, in the process of work under
musical performance, the principle of gesture music, that will step over
symbolist period, becomes complete. Meyerholdss work with opera
chorus produces a phenomenon of ancient tragic chorus in contemporary
theatre. At the same time, in accordance with Wagners theories, a new
principle of grotesque is getting absorbing Meyerhold more and more,
clearing the way for the new art stage.
Keywords: Meyerhold, Wagner, Tristan and Isolde, symbolism,

tragic, tragic hero, tragic chorus, gesture music, rhythm,

grotesque.
Yevgeniya Kiselyova
Metastasio and Tasso
Author suggests own classification of opera librettos by Pietro Metastasio.
Tragedies are united in specific group. It includes classic plots that are
adapted in various genres and styles: Oedipus Rex by Sophocles is
compared to Olympiad by Metastasio, Il Re Torrismondo by Torquato
Tasso to Demofoonte by Metastasio. Comparative analysis clarifies some
124

general traces of drama in the period of Late Renaissance and its reflection
in the art of opera seria of the 18th C.
Keywords: tragedy, pastoral, Pietro Metastasio, Torquato Tasso,

Il Re Torrismondo.
Letters by Anatoly Ktorov to Boris Zon
Publication and comments by Natalia Kolotova
The fragments of the letters that were written by USSR Peoples Artist
Anatoly Ktorov make thrilling documentation of over 20 years of history
of Moscow Art Theatre as well as theatre events and the general culture
situation in Moscow after the Second World War. The addressee of the
letters is Boris Zon who was a classmate of Ktorov while in School of
Theatre named after Komissarzhevskaya and became later the prominent
stage director and outstanding teacher of theatre in Leningrad.
Keywords: Anatoly Ktorov, Boris Zon, Moscow Art Theatre.