ТЕАТР
декабрь 2019, № 40
издается с 1930 года
в 1990—2000-е выходил с перерывами
возобновлен в октябре 2010 года
Учредитель издания
— Союз театральных деятелей
Российской Федерации
(ИНН 7707035201)
Адрес: 107031, Страстной бульвар, 10
Издание журнала
осуществлено при поддержке
Фонда Михаила Прохорова
Главный редактор
— Марина Юрьевна Давыдова
Заместитель главного редактора
— Олег Зинцов
Выпускающей редактор
— Алла Шендерова
Редактор
— Валерий Золотухин
Обозреватель
— Ника Пархомовская
Cпециальный
зарубежный корреспондент
— Камила Мамадназарбекова
Дизайнер
— Наталья Агапова
Руководитель фотослужбы
— Мария Захарова
Исполнительный директор
— Дмитрий Мозговой
Помощник директора
— Евгения Баландина
Директор по распространению
— Дмитрий Лисин
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
Цена свободная
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002
summary
In antiquity the world was understood in
ontological completeness, in a static state,
and the mask (including theater mask)
was a measurement of human physicality.
TEATR. considers what has changed
with the advent of Christianity and how
understanding the idea of personality has
influenced the use of masks, in particular
in the Italian commedia dell’arte.
The radical changes, which began in the
early 1930s in Germany, led to a change
in the paradigm of German civilization.
The Weimar theater also gradually began
to recede into the past — with the whole
system of ideological, dramatic, artistic
solutions. A real avalanche of innovation
has hit the German scene. TEATR. explains
what they were and how they changed
the image of the theater in Germany.
Zoya Borozdinova
Cultural Policy and Theater
of the Third Reich
The reader is offered the first Russianlanguage
study of the Swiss director Milo
Rau and his “International Institute for
Political Murder”. TEATR. offers an analysis
of the directorial method of Rau based on
such famous productions as “The Last Days
of Ceausescu”, “Speech of Breivik”,
and “Compassion. The Story of a Weapon”.
How such a new documentary arose
and in what way it differs from
documentary art of the 20th century?
Anastasia Tarhanova
Director Milo Rau
“New processual art” is a concept proposed
by director Boris Yukhananov back
in the late 1980s. This is not just a director’s
method, it is a whole strategy that includes
methodology, philosophy, and theory.
TEATR. finds out what some aspects
of the “new processuality” and the
discoveries made by Yukhananov during
his work on projects have in common.
Anna Pavlenko
“New Processual Method”
of Boris Yukhananov
Dmitry Birchuk
Face and Mask. On the Interpretation
of the Actor’s Face by Spectacular Arts
The performances of Dmitry Volkostrelov
are often built on different kinds of radical
exclusions: sometimes the director drops
visual expressiveness (“Lecture on
Nothing”, 2013), or he gets rid of the finale
and completeness (“Love Story”, 2013),
or he tries to drop the composition
(“Field”, 2016), etc. But no matter
how far the director moves away from
the traditional theater, in his performances
he constantly returns to the problem
of the viewer in relation with other
elements — the actor and the role.
It is the search for new connections
between these elements, suggests TEATR.,
that the innovative poetics of Volkostrelov’s
performances is based on.
Julia Oseeva
Dmitry Volkostrelov’s Theater:
Problems of Poetics
Analyzing the legacy of one of the greatest
Russian theater directors of the second half
of the twentieth century, TEATR. is trying
to understand what he brought with him
to the cinema and what he found in it.
Efros shot some unique films and
at the same time remained faithful
to the main occupation of his life —
theater. In this context the author also
writes about the performance of Efros
based on Edward Radzinsky’s play
“Filming a Movie” — as a peculiar example
of the reflection of one art about another.
Elizaveta Keshisheva
Anatoly Efros and Cinema
One of the texts that had a significant
impact on the methodology of this work
was Vladimir Paperny's book “Culture Two”,
which was devoted to the analysis of Soviet
culture in the 1930s and the first half of the
1950s. TEATR. finds out whether the model
of “Culture Two” is suitable for describing
the performances of NemirovichDanchenko
“Anna Karenina” and “Three
Sisters” and the roles of the legendary
actress Alla Tarasova in them.
Varvara Ivlieva
Two Roles of Alla Tarasova,
or Reading a Book
by Vladimir Paperny
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003
summary
At the turn of the XIX—XX centuries,
the Spanish scene was conservative
and could not be compared with
the European and Russian ones.
Among those who first began to call for
change was Ramon Maria del Valle-Inclan.
In its entirety, the experimental element
in his dramaturgy is revealed in the genre
of esperpento invented by him in 1920.
TEATR. is trying to understand what
this innovation is about.
Anna Sologub
What is an esperpento:
Provisions of the nonexistent
theory of Ramon del Valle-Inclan
The article analyzes in detail the plays
of the most important Russian-language
playwright of the last decade, Pavel
Pryazhko, examining such elements
as the system of characters, images of time
and space, remarks and speech. In addition,
the structural ties between the dramaturgy
of Pryazhko and that of Chekhov are traced.
Gulnara Iskakova
The Problem of the Transformation
of the Dramaturgy of Chekhov
in the Plays of Pavel Pryazhko
The work is devoted to studying the
influence of the tradition of the ancient
Greek mysteries on the theatrical methods
of the two largest modern European
directors. The ties of the productions of Jan
Fabre with Dionysian Mysteries and those
of the performances of Romeo Castelllucci
with the Eleusinian ones are traced.
Polina Pkhor
The Search for Ritual
in Modern European Theater:
Jan Fabre, Romeo Castelllucci
Heiner Goebbels is one of the most
influential figures in modern theater.
He is a theater philosopher, a composer,
a director, the author of installations,
and a curator, whose work in its entirety
and versatility has yet to be comprehended.
TEATR. makes the first serious attempt
to do this in Russian language and
formulates the features of Goebbels’s
creative method.
Ekaterina Timonina
The Creative Method
of Heiner Goebbels
The major children's writer of the USSR
admitted that he did not like theater and
never wrote for it. However, this did not
prevent him from translating the plays
and reviewing the performances he saw.
TEATR. tells how the relationship between
Chukovsky and theater developed,
why he did not like it, and under what
circumstances he wrote several very
interesting texts about the theater
of his time.
Xenia Yarosh
Korney Chukovsky on theater
Social theater can be called one of the key
trends in the development of theater in
recent decades. Its evolution in Russia was
set, on the one hand, by the historical
avant-garde, and on the other, by the
development of documentary, political and
“witness theater” in the 1990—2010s.
TEATR. tries to create the formula
of the Russian social theater relying
on the performances of the pioneers
of this trend in Russia — Theater.doc
and the Meyerhold Center.
Vasilisa Kozlova
Social Theater in modern Russia:
a sociocultural analysis
of the art programs
of the Meyerhold Center
and Theater.doc
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004
содержание
008 Дмитрий Бирчук
Лицо и маска. К проблематике
интерпретации лица актера
зрелищными искусствами
018 Зоя Бороздинова
Культурная политика
и театр Третьего рейха
030 Анна Павленко
Новопроцессуальный метод
Бориса Юхананова
042 Екатерина Тимонина
Хайнер Гёббельс:
искусство ассамбляжа
052 Варвара Ивлиева
Две роли Аллы Тарасовой,
или Читая книгу Владимира
Паперного
062 Елизавета Кешишева
Анатолий Эфрос: снимается кино
072 Гульнара Искакова
Время, пространство,
речь и система персонажей
в драматургии Павла Пряжко
084 Полина Пхор
Ритуал в театре Фабра
и Кастеллуччи
094 Анна Сологуб
Что такое эсперпенто:
положения несуществующей
теории Рамона дель Валье-Инклана
104 Юлия Осеева
Театр Дмитрия Волкострелова:
проблемы поэтики
114 Анастасия Тарханова
Вселенная Мило Рау
124 Ксения Ярош
Корней Чуковский:
«Я не люблю театра»
134 Василиса Козлова
Социальный театр
в современной России
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