Format:
1 Online-Ressource (297 pages)
Edition:
First edition
Edition:
Also published in print
ISBN:
1350142476
,
9781350142497
,
9781350142473
,
9781788313506
Series Statement:
Library of Modern Russia
Content:
"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."--
Content:
Cover page -- Halftitle page -- Library of Modern Russia -- Title page -- Copyright page -- Contents -- Contributors -- Acknowledgements -- A note on transliteration -- Introduction Recent developments in Russian, Ukrainian and Belarusian drama -- Russia -- Ukraine -- Belarus -- Notes -- Part I Russia -- 1 The story of Russian-language drama since 2000 PostDoc, the postdramatic and Teatr Post -- The origins of 'New Drama' -- Teatr.doc and others -- The manifesto of Teatr.doc and its consequences -- Debates around the 'postdramatic' -- Konstantin Bogomolov's writing for the stage
Content:
Staging obscenities: The Pagans and the 2014 profanity ban -- Language, religion and authenticity -- Conclusion -- Notes -- 14 Natal'ia Vorozhbyt's Viy -- The cellar scene: locating the Ukrainian subject -- The interrogation scene: autoethnographic storytelling -- Lukas's return home: intercultural acts of kindness -- Viy in production -- Conclusion -- Notes -- Bibliography -- Part III Belarus -- 15 The transformation of the language of 'New Drama' in Belarus, as a reflection of a new model of identity -- 'New Drama' in Belarus: the early 2000s -- Historical context: language as a political field
Content:
Structure and Organization: 'Class Act' in Scotland -- The aims, values and creative practices of 'Class Act' in Scotland and abroad -- Notes -- 6 Conversation with Sasha Denisova (Moscow, October 2013) -- 7 Conversation with Ivan Vyrypaev (Moscow, May 2013) -- Note -- 8 Absence on Stage in Ivan Vyrypaev's July -- Notes -- Bibliography -- Part II Ukraine -- 9 The watershed year of 2014 -- Ukrainian theatre in the 1990s -- Ukrainian drama between the Orange Revolution and the Maidan -- The impact of the Maidan and Russian military expansionism on theatrical production
Content:
The outsiders of Teatr Post: Dmitrii Volkostrelovand Pavel Priazhko -- Experimentation under threat -- Notes -- 2 Giving testimony in the face of an authoritarian regime -- Notes -- 3 From Stalinist Socialist Realism to Putinist Capitalist Realism -- Cultural policy in Russia during the 2010s -- Policy in practice: the case of Kirill Serebrennikov and the theatre -- Conclusion -- Notes -- Bibliography -- 4 Conversation with Mikhail Durnenkov and Maria Kroupnik (Liubimovka Festival, Moscow, September 2017) -- Note -- 5 'Class Act' in Russia and Ukraine -- 'Class Act': historical overview
Content:
The birth of a post-Maidan fringe -- 'Ukrainian New Drama' -- Conclusion -- Acknowledgements -- Notes -- Bibliography -- 10 The playwright overlooked -- Olena Apchel and 'decolonizing the actor' -- Teatr Lesi -- Bad Roads -- Moscow's Teatr.doc tour to PostPlay Theatre, November 2018 -- Ukrainian independent theatre -- 'Zaporizhzhian New Drama' -- 11 A new 'dawn' in Ukrainian theatre -- Note -- 12 Stages of change -- Notes -- Bibliography -- 13 'Ne skvernoslov', otets moy' ['Curse not, my son'] -- Anna Iablonskaia and transnational contexts
Note:
Includes bibliographical references and index
,
Representation as a way to produce meanings
,
Also published in print.
,
Mode of access: World Wide Web.
Additional Edition:
Erscheint auch als Druck-Ausgabe Curtis, J. A. E New Drama in Russian : Performance, Politics and Protest in Russia, Ukraine and Belarus London : Bloomsbury Publishing Plc,c2020
Language:
English
Keywords:
Electronic books
DOI:
10.5040/9781350142497
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