Национальный цифровой ресурс Руконт - межотраслевая электронная библиотека (ЭБС) на базе технологии Контекстум (всего произведений: 470929)
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Театр

Театр №4(29) 2017 (180,00 руб.)

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АннотацияЖурнал «Театр» — старейший из ныне существующих российских журналов о сценическом искусстве. Он начал выходить в середине 30-х годов. За эти долгие годы он пережил несколько радикальных обновлений, в каждом из которых отражалась новая историческая эпоха — от сталинизма до оттепели и перестройки, но во всех эпохах он оставался главным медийным ресурсом о театре. В 2010 году после двухлетнего перерыва СТД РФ решил возродить «Театр.».
Театр .— 2017 .— №4(29) .— 212 с.

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Театр_№4(29)_2017.pdf
ТЕАТР апрель 2017, № 29 издается с 1930 года в 1990—2000-е выходил с перерывами возобновлен в октябре 2010 года Учредитель издания — Союз театральных деятелей Российской Федерации Главный редактор — Марина Давыдова Заместитель главного редактора — Олег Зинцов Выпускающий редактор — Ада Шмерлинг Редактор — Алла Шендерова Редактор — Валерий Золотухин Cпециальный зарубежный корреспондент — Камила Мамадназарбекова Дизайнер — Наталья Агапова Руководитель фотослужбы — Мария Захарова Исполнительный директор — Дмитрий Мозговой Помощник директора — Дарья Шмелькина Директор по распространению — Дмитрий Лисин в журнале использован шрифт Graphik из коллекции type.today Издание журнала осуществлено при поддержке Фонда Михаила Прохорова и Министерства культуры Российской Федерации Благодарим за поддержку «Интеллектуальный клуб 418» Журнал зарегистрирован в Федеральном агентстве по печати и массовым коммуникациям ПИ N77-1621 от 28.01.2000 ISSN 0131-6885 Адрес редакции для почты: 107031, Москва, Страстной бульвар, 10, комн. 38 тел.: (495) 650 28 27, 650 95 22 e-mail: info@oteatre.info teatr.moscow@gmail.com www.oteatre.info Индекс журнала в объединенном каталоге «Пресса России» — 13150 Журнал «Театр» распространяется во всех отделениях СТД РФ. В Москве журнал можно приобрести и оформить подписку с получением вышедших номеров в редакции.
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002 PERFORMANCE/THEORY Summary 062 RAOUL HAUSSMANN, LASZLO PERI. THE TASKS OF PRÉ THEATRE 008 LYUDMILA BREDIKHINA ON THE THEATRICALITY OF PERFORMANCE AND THE PERFORMATIVITY OF THEATRE THEATRE. offers readers a brief history of Performative studies, and deals with the notion of performativity in contemporary art including theatre 022 VLADISLAV TARNOPOLSKY ERIKA FISCHER-LICHTE: WHAT COMES AFTER "POST"? THEATRE. interviewed the famous German theatre critic, author of one of the most important books on the theory of performativity, about meaning she invests in the concepts of “theatre” and “theatre studies” 028 MARINA ISRAILOVA PERFORMANCE AND ITS DOCUMENTATION Does the practice of documentation influence the event of the performance and is the documentation manipulative? THEATRE. offers a brief and far from exhaustive overview of what Western criticism and scholarship think of the “performance/document” issue 036 INNA ROZOVA PLAY IT BACK! THEATRE. analyzes playback theatre, a strange performative practice that emerged in the 1970-ies at the crossroads of theatre, psychology and happening PERFORMANCE/HISTORY THEATRE. publishes the Manifesto little known in Russia of the two influential figures of the avantgarde. It has anticipated, like many manifestos of the 1920-ies, the performative turn, which happened in European art in the 1960-ies The preface of Konstantin Dudakov-Kashuro 066 ANTON SVETLICHNY HOW TO DO THINGS WITH MUSIC In musicology performative turn happened later than in other humanities. THEATRE. analyzes the details of this turn 080 KATERINA VAHRAMTSEVA HOW POLITICS WAS RECOGNIZED AS ART One of the main properties of performativity is shifting of perception. A political gesture that becomes art is one of the most significant aspects of such shifting. THEATRE. finds the point of institutionalization of a political gesture as art and traces the prehistory and the consequences of this event 088 ADA SHMERLING PIONEERS AND HEROES THEATRE. decided to recall a few events from the recent history, which in the new context of today look like a harbinger of performativity in Russian theatre 098 ZINAIDA STARODUBTSEVA SOVIET KINETIC ART: CYBERTHEATRE, PLAY LABYRINTH AND OTHER FORMS OF THEATRICALITY The relationship of the Soviet kinetic art with diverse theatre genres is obvious and little studied at the same time. THEATRE. describes the most interesting stage experiments of Kinetic artists and analyses how they influenced the Soviet theatre PERFORMANCE/MODERN PRACTICE 050 BORIS FALIKOV KRUCHENYKH, MALEVICH AND MATYUSHIN: “AN INTRICATE GAME” The opera “Victory over the Sun” is the first eschatological performance in the history of world theatre. This is not just an interesting stage experiment, but also an occult one that was supposed to help mankind to make a decisive step towards a new future. THEATRE. is trying to figure out whose ideas inspired the creators of the opera 110 OLEG ZINTSOV COMMISSAR LISOVSKY IN 2017 Vsevolod Lisovsky brought performativity in the most nutritious theatrical mycelium of Moscow, Teatr.doc. THEATRE. analyzes the interplay between documentary theatre and performativity
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003 116 Summary ELENA GORDIENKO TINO SEHGAL: A CONSTRUCTED SITUATION The booklets are not produced for the works of Tino Sehgal and there are no explications on the walls and no memorabilia available in Museum shops. Instead of tickets there are prints on hands that won’t last a day. THEATRE. explains why Sehgal does not like so much any records of his work 120 NIKA PARKHOMOVSKAYA TABLE TALK AS A THEATRE GUEST The columnist of THEATRE. attended two completely different versions of the same spectacle “In Guests. Europe” of the group Rimini Protokoll in order to get sure: the word “performance” in this case is inappropriate. As well as the terms “role play” and "psychological training" 126 ALLA SHENDEROVA POUND-PROMENADE THEATRE. talks about the spectacle Cantos of Semyon Alexandrovsky, Alexei Sumak, Teodor Currentzis and Ksenia Peretrukhina, one of the main events of the past year, in which all components — directing, music, design, the score of the performers and the score of the existence of audience — are not separable from one another and are equally important 130 ANDREI PRONIN “INVESTIGATION”: A SELF-PORTRAIT AFTER THE BATTLE THEATRE. analyzes how the spectacle of the Khabarovsk Youth Theater, based on a careful delivery of an authentic literary text by Peter Weiss, has become the most radical performance of the Russian stage lately 138 ALLA SHENDEROVA SIX SMALL KITCHEN CONVERSATIONS WITH KATYA BOCHAVAR THEATRE. decided to ask a successful artist, architect, designer of the Russian Pavilion at the Venice Biennale (2009), what sort of power invariably draws her to theatre 144 NIKA PARKHOMOVSKAYA PERFORMANCE AS A TEST OF STRENGTH Regular participants of the largest international festivals and biennales, architect Galina Myznikova and poet Sergey Provorov founded in 1998 in Nizhny Novgorod the art group “PROVMYZA”. And became practically the first in Russia who began to make performances. THEATRE. interviewed them about their experience 156 VERA SENKINA COME AND BE INVOLVED Performativity of space is one of the main themes in the works of many contemporary artists. THEATRE. ruminates how the space by itself masterminds both a performance and an impression of a viewer, giving the examples of the works of Anish Kapoor, James Turrell, Olafur Eliasson and Ann Veronica Janssens SPECIAL PROJECT 166 SIGHT-READING There’s the point where the history of the twentieth century literature intersects with the history of graphic design. It happens when the scores of the performances of poets or actors relay through graphics the intonation of speech and also gestures, rhythms and mise-en-scenes. Natalia Agapova and Valery Zolotukhin review five books, which transmit by different means the characteristics of live performances of a poem, or a play. Masha Sydorovych examines one of the main graphic works in the genre of the score of the play. It is the book by the German expressionist Lothar Schreier “Crucifixion” TEXT 196 JAN FABRE NIGHT DIARIES THEATRE. with permission of the author publishes for the first time excerpts from the diaries of a prominent Belgian artist, director and performer
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