THE PREMIERE OF A. P. CHEKHOV’S TATYANA REPINA AT JUDSON POETS’ THEATER1.Statya_OVSpachil.docx (original) (raw)
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The role of Turkic peoples, including Tatar theater, in the formation of theatrical art in Uzbekistan is great. The activities of Tatar drama and troupes served as a model for Uzbek intellectuals. Under the influence and example of Tatar and Azerbaijani theater artists, the Uzbek theater was established in the early twentieth century. This article examines the main features of the creative ties between the two national theaters. Objective: The purpose of the research is to study the stages of development and creative features of the Uzbek theater in the context of the drama of the Turkic nations. Methodology: This topic is scientifically studied on the basis of historical, socio-artistic, comparative, genre and chronological methods. The results of the study: The study substantiates the art of acting and directing in the Uzbek theater, the creative role of Tatar drama in the creative development of drama. Scientific findings serve to enrich the fundamental knowledge of Uzbek theater studies. Scientific novelty: The creative ties between the Uzbek and Tatar theaters have a century-old history. One of the most controversial topics in theater studies is that the Uzbek theater, which was founded on the basis of the Jadid movement, was ideologically and creatively influenced by the Tatars, not the Russian theater. Practical significance: The research serves as a fundamental source in the study of the creative stages of the history of Uzbek theater. It also demonstrates the creative advantages of intensifying the creative collaboration of Tatar and Uzbek theaters, which are currently stalled.
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Staged at a peak of Stalinist terror and aggressively promoted by the state, Anna Karenina in the Moscow Art Theater is an unusual cultural and ideological event of the late 1930s. In its disturbing lack of obvious political or emotional relevance to the socialist experience, the grand spectacle of adultery and suicide on the country's main dramatic stage prompted a conflicted critical construction of the play's Soviet meaning and resonance. Situating Anna Karenina in contemporary political and cultural landscapes, this essay exposes and interprets the rupture between the production's mediated publicized image and immediate theatrical actuality, and brings to light the play's inherent logic and implications created through a uniquely theatrical exchange among the Stalinist state, stage, and audience.
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Acting Strategies in the Stage Representation, 2012
Acting Strategies in the Stage Representation of Ferapont in Three Sisters by Anton Chekhov Directed by Pawel Lysak. W: Сивков C. (red.), Европа чете Чехов. Велико Търново: Университетско издателство “Св. св. Кирил и Методий”, s. 341–349 A dramatic character’s analysis is hindered with regard to difficulties connected with possibilities to collect the proper analytical material. A standard division into: a) work documentation and b) creation documentation in the digital area requires an additional theoretical specification dependent on a level of record detail. Analogue or digital recording does not solve a problem since there is no effective methodology in this field. Documentation of stage performance in a form of: a) photographs, sequences of photographs; b) soundtrack; c) video recordings using one or several video cameras; etc., does not show a particular part of the performance, which will be subject to an analysis. It often turns out that documentation drawn up before is insufficient; especially, when seemingly insignificant or less significant details; as supporting characters, are being analyzed. This is (in Poland) a result of theatrologists’ attachment to the “specific tradition” of looking not at a company of actors but at individual dramatic performances (stardom). In the first part of this article the analysis of the dramatic character of Ferapont Spiridonovich in Three Sisters by Anton Chekhov from the point of view of a stage performance. The second part of the article discusses Pawel Gilewski’s interpretation of this character in Three Sisters play directed by Pawel Lysak’.
The Palgrave Handbook of the History of Women on Stage, 2019
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