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New Drama in Russian: Performance, Politics and Protest in Russia, Ukraine and Belarus de J. A. E. Curtis

New Drama in Russian: Performance, Politics and Protest in Russia, Ukraine and Belarus: Library of Modern Russia

Editat de J. A. E. Curtis
en Limba Engleză Hardback – 10 iun 2020
How and why does the stage, and those who perform upon it, play such a significant role in the social makeup of modern Russia, Ukraine and Belarus? In New Drama in Russian, Julie Curtis brings together an international team of leading scholars and practitioners to tackle this complex question. New Drama, which draws heavily on techniques of documentary and verbatim writing, is a key means of protest in the Russian-speaking world; since the fall of the Soviet Union in 1991, theatres, dramatists, and critics have collaborated in using the genre as a lens through which to explore a wide range of topics from human rights and state oppression to sexuality and racism. Yet surprisingly little has been written on this important theatrical movement. New Drama in Russian rectifies this. Through providing analytical surveys of this outspoken transnational genre alongside case-studies of plays and interviews with playwrights, this volume sheds much-needed light on the key issues of performance, politics, and protest in Russia, Ukraine and Belarus.Meticulously researched and elegantly argued, this book will be of immense value to scholars of Russian cultural history and post-Soviet literary studies.
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Specificații

ISBN-13: 9781788313506
ISBN-10: 178831350X
Pagini: 296
Dimensiuni: 156 x 234 mm
Greutate: 0.59 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria Library of Modern Russia

Locul publicării:London, United Kingdom

Caracteristici

Makes use of a range of primary sources, including interviews with current playwrights

Notă biografică

J.A.E. Curtis is a Professor of Russian Literature at the University of Oxford, UK. She is the author of A Reader's Companion to Mikhail Bulgakov's 'The Master and Margarita' (2019), Mikhail Bulgakov (2017), and The Englishman from Lebedian': A Life of Evgeny Zamiatin (2013).

Cuprins

List of ContributorsIntroduction: Recent Developments in Russian, Ukrainian and Belarusian Drama, J. A. E. Curtis (University of Oxford, UK)Part I. Russia1. The Story of Russian-Language Drama since 2000: PostDoc, the Postdramatic and Teatr Post, Marie-Christine Autant-Mathieu (CNRS, and Sorbonne University, France)2. Giving Testimony in the Face of of an Authoritarian Regime: The Evolution of Documentary Forms at Teatr.doc, the KnAM Theatre, and the Belarus Free Theatre, Lucie Kempf (University of Lorraine at Nancy, France)3. From Stalinist Socialist Realism to Putinist Capitalist Realism: Tracing Cultural Ideology in Contemporary Russia, Alexander Trustrum Thomas (University of Oxford, UK)4. Conversation with Mikhail Durnenkov and Maria Kroupnik at Liubimovka Festival, Moscow 2017, J. A. E. Curtis (University of Oxford, UK)5. 'Class Act' in Russia and Ukraine: Youth Drama Projects and Social Theatre Practice, Maria Kroupnik (School of Economic and Social Sciences, Moscow, Russia)6. Conversation with Sasha Denisova, Moscow 2013, Susanna Weygandt (Sewanee: The University of the South, USA)7. Conversation with Ivan Vyrypaev, Moscow 2013, Susanna Weygandt (Sewanee: The University of the South, USA)8. Absence on Stage in Ivan Vyrypaev's July, Valeriia Mutc (Yale University, USA)Part II. Ukraine9. The Watershed Year of 2014: The 'Birth' of Ukranian New Drama, Noah Birksted-Breen (University of Oxford, UK and University of Manchester, UK)10. The Playwright Overlooked: Personal Reflections on Two Years in Ukranian Theatre, 2017-2019, Jack Clover (Independent Theatre-Maker, UK)11. A New 'Dawn' in Ukrainian Theatre: Conversation with Maksym Kurochkin, 2019, Jack Clover (Independent Theatre-Maker, UK)12. Stages of Change: Ukraine's Theatre of Displaced People, Molly Flynn (Birkbeck, University of London, UK)13. 'Ne Skvernoslov', Otets Moy' ['Curse Not, My Son']: Anna Iablonskaia's The Pagans and the Search for a Language of Authenticity, Molly Thomasy Blasing (University of Kentucky, USA)14. Natal'ia Vorozhbit's Viy: Autoethnography through a Gogolian Lens, Jessica Hinds-Bond (Northwestern University, USA)Part III. Belarus15. The Transformation of the Language of 'New Drama' in Belarus as a Reflection of a New Model of Identity, Tania Arcimovich (Minsk, and Justus-Liebig University, Gießen, Belarus)16. Conversation with Natalia Koliada of the Belarus Free Theatre, London 2019, J. A. E. Curtis (University of Oxford, UK)17. Pavel Priazhko: The Text as an Instant Photograph, 2012; plus Conversation with Pavel Priazhko, 2011 and 'Essay on Pavel Priazhko's Methods', Tania Arcimovich (Minsk, and Justus-Liebig University, Gießen, Belarus)18. The Artistic Space Shared by Eastern Slavs and the Ways in which that is Created: The Way People Love by the Belarusian Dramatist Dmitrii Bogoslavskii, Natal'ia Osis (University of Genoa, Italy)Conclusion: Summer of 2019, J.A.E. Curtis (University of Oxford, UK)Recommended ReadingIndex

Recenzii

A welcome addition to the growing field of transnational studies on theatre and drama . it can be easily adapted for teaching, specifically since several plays mentioned in this collection have been translated into English.
Combining insightful analysis of specific texts, productions, playwrights and theatre directors with interviews with the brightest figures of the Russian stage and a sweeping survey of recent developments in drama in Russia, Ukraine and Belarus, this imaginative book is an invaluable source of information about modern Russian drama to date.
At once skilfully edited and intellectually ambitious, this book offers perhaps the most comprehensive picture of the international theatre movement called New Drama at a time of cultural and political crisis.
Bringing together young and experienced scholars, playwrights and theatre director, New Drama in Russian is a definite must-read for anyone interested in post-socialist theatre and culture in general, as well as for the readers seeking new approaches to politics and activism. This volumes clearly demonstrate how New Drama that started in Russia in the early 2000s with the introduction of verbatim plays, has revolutionized not only Russian, but also Ukrainian and Belorussian cultures, let alone theatre. Furthermore, this volume represents the New Drama as a new artistic discourse on politics - one that doesn't only reflect on political issues, but creates political spaces, dissensus and agon highly need in societies experiencing populist and authoritarian pressure.
All contributions to the volume are of interest and exceptionally well written ... Serves as worthy testimony to the authenticity and vitality of a critical moment and movement in the theatrical history of all three nations.