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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 onmalt@gmail.com

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: e-mail lena.mamchur@gmail.com
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: e-mail mayamolodzova@yandex.ru

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: e-mail a-ryaposov@yandex.ru

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: e-mail andr_ibsen@mail.ru

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Authors
Polina Bogdanova
PhD (Arts), associate professor, Dept. for History of Theatre and Film,
Russian State University for the Humanities (Moscow).
Contacts: e-mail polina11@mail.ru
Yury Chirva
PhD (Arts), professor, Head of Dept. Chair, Dept. of Foreign Art Studies, St.
Petersburg State Theatre Arts Academy.
Contacts: e-mail trikafedry@yandex.ru
Olga Maltseva
Dr. Sc. (Arts), professor, Dept. of Russian Theatre Studies, St. Petersburg State
Theatre Arts Academy; senior researcher, Russian Institute of History of the
Arts.
Contacts: e-mail onmalt@gmail.com
Elena Mamchur
doctorant student, Dept. of Russian Theatre Studies, St. Petersburg State Theatre
Arts Academy.
Contacts: e-mail lena.mamchur@gmail.com
Maya Molodtsova
PhD (Arts), professor, Dept. of Foreign Art Studies, St. Petersburg State Theatre
Arts Academy.
Contacts: e-mail mayamolodzova@yandex.ru
Alexander Ryaposov
PhD (Arts), associate professor, Dept. of Russian Theatre Studies, St. Petersburg
State Theatre Arts Academy.
Contacts: e-mail a-ryaposov@yandex.ru
Galina Titova
Dr. Sc. (Arts), professor, Dept. of Russian Theatre Studies, St. Petersburg State
Theatre Arts Academy
Contacts: e-mail trikafedry@yandex.ru
Andrey Yuriev
PhD (Arts), professor, Dept. of Foreign Art Studies, St. Petersburg State Theatre
Arts Academy.
Contacts: e-mail andr_ibsen@mail.ru

137


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Summary
Maya Molodtsova
Towards History of Directing: Angelo Ingegneri and production of Oedipus
Rex at the Teatro Olimpico, Vicenza (1585)
In attempt to revive theatre art in the period of cinquecento the productions
were created by playwrights together with artists (painters and architects) and
with scholars of humanities who brought their knowledge of the ancient stage
arts.
Angelo Ingegneri was one of the brightest and most prestigious theoreticians
and creators of Italian theatre in the 16th C.His treatise On Mimetic Poetry and
the Manner of Representing the Scenic Fables (Della poesia rappresentativa & del
modo di rappresentare le favole sceniche) contains both the basic concept of the
classical performance and the details of the process of creation of Oedipus Rex
by Sophocles at Teatro Olimpico, Vicenza.
Key words:
Angelo Ingegneri, On Mimetic Poetry and

the Manner of Representing the Scenic Fables,

16th C.Italian theatre, art of directing,

Teatro Vicenza, Oedipus Rex by Sophocles.
Elena Mamchur
Directors art on Alexandrinsky Stage in the 1900s
Author analyses Alexandrinsky Theatre productions of the first decade of the
XX century by approach of accumulation directing elements and its correlations
with the Russian Theatre development stages from assimilation of the
Meiningen Theatre experiences to the Stanislavskys and then to the Meyerholds
type of production.
Key words:
Alexandrinsky Theatre, Gnedich, Sanin, Darsky,

Ozarovky, Meiningen Theatre, Moscow Art

Theatre, Chekhov, naturalism, symbolism,

art of theatre directing.
Yury Chirva
Illarion Pevtsov
The article is about one of leading actors in Russian theatre of the first third of
the 20th century. During the period that is covered in research Pevtsov worked
at Academic Drama Theatre (former Alexandrinsky) and played the parts of
Emperor Paul I (Paul I by Merezhkovsky), He (HeWho Gets Slapped by Leonid
Andreev), Fodor Protasov (The Living Corpse by Leo Tolstoy), Professor Borodin
(The Fear by Alexander Afinogenov).
Key words:
Illarion Pevtsov, Alexandrinsky Theatre, acting art.
Galina Titova
Woe to Wit, or the Comedy on Loutishness
Final part of the research of Meyerholds production Woe to Wit. The character
of Chatsky is analyzed as a part of production in the context of political, social
and artistic parameters of the poque.
Key words:
Woe of Wit by Griboyedov, Chatsky, Meyerhold,

Erast Garin, Arkady Belinkov, Boris Alpers,

performance on music, supertextual novel.

140

Andrey Yuriev
The Ibsen Performances in St. Petersburg for the Last Decade
The article deals with the major difficulties in staging Ibsens plays in
contemporary Russia. The author makes use of a number of producrions in St.
Petersburg theatres in order to reveal the reasons of the failures in performing
Ibsen.
Key words:
Henrik Ibsen, modern theatre in St. Petersburg,

A Dolls House, Rosmersholm, Hedda Gabler.
Olga Maltseva
Looking Back on Productions by Yuri Lubimov: The Castle (Taganka Theatre,
2005)
In its essence the theatrical poetics of Lubimov did not change in time. The
composition of performance became more and more elaborate. The principles of
construction tended to be more and more similar to the music basis. It became
even more obvious after the return of Lubimov from his forced exile where he
worked at opera much. This musicality made his new production more difficult
for perception by audience and by critics. All that productions require analysis
in detail. This article is about The Castle by Franz Kafka staged in 2005.
Key words:
Yuri Lubimov, Taganka Theatre, directing

for drama, The Castle by Franz Kafka.
Alexander Ryaposov
Production The Cherry Orchard based on the comedy by Chekhov, directed
by Mark Zakharov (Lenkom Theatre, 2009)
Production The Cherry Orchard based on the comedy by Chekhov, directed by
Mark Zakharov (Lenkom Theatre, 2009) is analyzed from the perspective of
methodology of Mark Zakharovs directing. The plot of the play was transformed
in theatrical plot and into the scenario for directing through restructuring of the
action and even the text of the play in a montage. The counterpoint composition
is made of motives of action, of words and movements (transformation effect),
and special conflict of spoken lines.
Key words:
Mark Zakharov, methodology of directing,

theatrical plot, scenario of directing, montage,

attraction, counterpoint, transformation effect.
Polina Bogdanova
Fokin and Fokin
This is a chapter of a book The Directors of 1970s: Generation Without Illusions
that is prepared for publishing. In this chapter the biography of Valery Fokin is
researched from the point of view of his aesthetic beliefs, his own concept of
theatre. Nevertheless despite the specific features of Fokins art he could be
considered to be a person who belongs to the generation that started the way in
theatre in the end of 1960s and the beginning of 1970s. Other personalities in
this generation are Anatoly Vasiliev, Lev Dodin, Kama Ginkas, Mikhail Levitin,
Genrietta Yanovskaya and others.
Key words:
Valery Fokin, subjective approach,

fantastic realism, modernism, play of reality

and irreality, duality, directing score, conservatism.


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