The Belarusian Theatre Studio in Moscow: 1921–1926 (original) (raw)
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Problems of Arts and Culture International scientific journal (AZERBAIJAN NATIONAL ACADEMY OF SCIENCES ), 2020
The subject of the research is the staging of “Tsar Maksimilian”, realized by students of the Belarusian Theatre Studio in Moscow. It was a period when young students under the direction of teachers of the Moscow Art Theater-2 prepared a repertoire, which they will show in Belarus. The performance was a part of the repertoire of the Belarusian State Theater – 2 in Vitebsk and enjoyed great success. He was shown for three seasons. The director, Valentin Smyshlyaev, had several goals: to use Belarusian folklore, to engage the whole group of actors, and on the example of this drama, raise issues such as good and evil, faith, love, power and duty, loyalty to certain ideas. The author of the article, based on archival materials, memories of actors and theater reviews, reconstructs the performance that should occupy an important place in the history of Belarusian theatre.
Раздел 3. Театральное искусство Section 3. Theatre arts
European Journal of Arts , 2022
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.
2020
The purpose of the article is to analyse the continuity of traditions in the Ukrainian drama theatre, its signs in the work of outstanding theatre artists and the study of artistic phenomena that reflect the national heritage of theatre culture in Ukraine. With this objective in view, and to justify the need for a combination of skill, innovation and tradition for updating the culture of society, we have used methods of analysis and synthesis, an interdisciplinary approach and the principle of historicism. The scientific novelty lies in the fact that the development of the national Theatre is analysed taking into account cultural traditions, their influence on the work of leading theatre figures, and the main principles and traditions of the performing arts. Conclusions. We have found out that Ukrainian artists, despite the Imperial pressure, in the 80-90s of the 19th century got an opportunity to stage performances in the Ukrainian language, although with certain restrictions, and ...
Repertoire Tradition of the Ukrainian Drama Theatre: Historical and Cultural Aspect
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The purpose of the article is to find out the repertoire traditions of Ukrainian theatre from the first professional theatre to the present day. The research methodology applies an interdisciplinary approach. In particular, the principle of historicism is an opportunity to trace the change in the repertoire policy of theatres under the influence of sociopolitical circumstances. Structural-functional and macrodynamic methods to study the theatre at different stages of development are methods of analysis and synthesis used to identify the main artistic phenomena and trends in theatrical activities. Scientific novelty. Based on the analysis of the repertoire plays of five Ukrainian theatres: the Theatre of Coryphaei, Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre, Taras Shevchenko Dnipro National Academic Ukrainian Music and Drama Theatre, Ivan Franko National Academic Drama Theatre, Maria Zankovetska Theatre — trends in the development of the repertoire policy of the Ukrain...
Stanislavski Studies Practice, Legacy, and Contemporary Theater, 2017
This article highlights Stanislavsky’s discoveries of 1910s in actor training. It analyses the unique project that took place at St. Petersburg State Theatre Arts Academy in 2012–2016. For four years, students and teachers of Prof Tcherkasski’s Acting Studio followed the initial steps of the First Studio of the Moscow Art Theatre founded in 1912. The aim was to get a better understanding of the methodology of actor training under Stanislavsky and Sulerzhitsky’s guidance in the early (to be more precise – basic) period of the Stanislavsky System. The multidisciplinary project resulted in both theoretical discoveries revealed in the article, as well as intimate insights into the artistic work of the founding members of the First Studio who subsequently became the influential masters of the Russian and international stage – Evgeny Vakhtangov, Michael Chekhov, Richard Boleslavsky, Maria Ouspenskaya, among them. It had culminated in today’s productions of the once famous plays from the repertoire of the First Studio and the Moscow Art Theatre – The Good Hope by Heijermans, The Cricket on the Hearth by Dickens and A Month in the Country by Turgenev.
Cultural protest in Belarus: theatres during the Belarusian revolution (2020)
Canadian Slavonic Papers, 2021
The presidential election on 9 August 2020 sparked a wave of powerful protests across Belarus that continues to this day. Not only ordinary citizens but also representatives of the Belarusian intelligentsia, including theatre actors and directors, have participated in the demonstrations. The article analyzes the factors that caused so many representatives of Belarusian theatres to join the protest. The reasons should be sought in the previous period, best shown by the situation in the Yanka Kupala National Theatre. Over 11 years the artistic director of the ensemble, Mikalai Pinihin, completely changed the face of the theatre, bringing it to European level. Most importantly, thanks to his choices for the theatre’s repertoire, he made it possible to formulate a national idea. When the famous diplomat Pavel Latushka came to the theatre to work as its managing director, the institution had a chance to play a crucial role in shaping the cultural policy of Belarus. However, the authorities prevented these plans: they dismissed Latushka and almost all the actors. Thus the first cultural protest in the history of Belarus, attended by representatives of many other theatres, took place. The protests were large-scale and peaceful.
IMAGES OF THE BELARUSIAN VILLAGE ON THE STAGE OF BELARUSIAN STATE THEATRE-1 (1920-1930)
BULLETIN OF KAZAKH NATIONAL WOMEN'S TEACHER TRAINING UNIVERSITY, 2020
The author of the text focuses on three productions staged at the Belarusian State Theatre-1 in the 1920s, at the beginning of the work of the theatre group, which was opened in 1920. The first artistic director was Florian Zhdanovich, and the second was Evstigney Mirovich, the first performance is "The Scattered Nest" (1913) by Yanka Kupala, the second is "Socialist-ess" (1924) by Tishka Hartny and "Twilight" (1927) by Vasily Shashalevich. The first two talk about the situation before the 1917 revolution, and the third after. The main subject of these three plays is the struggle for land in the Belarusian village in 10-20 years of the 20th century. The amount of land owned indicates a person's well-being and social status. The authors of these dramas show how the Earth forms the character of a person and affects his decision, sometimes it even leads to murder.