Published in journal "Philosophy and Culture", 2014-9 in rubric "The rational and the irrational", pages 1266-1275.
Resume: The purpose of the present research is to better understand the reasons of the ongoing shifts in the relations between society, audience and theatre. The author of the article focuses on the development of the theatrical language and renewal of theatrical notions. Issues related to the transformation of the theatrical language (as the part of culture) grow especially important at the turning points of history when the picture of the world is changed not gradually but as an explosion. Using the method of the comparative analysis, the author of the article studies how Konstantin Stanislavksy system which was created the turn of the 19th and the 20th centuries has been developing further throughout the 20th century and at the beginning of the 21st century. In particular, the author analyzes the practical experience of the Perm Academic Theatre of Drama. The author had a chance not only to visit many theatres of the former USSR but also attend rehearsals of Georgy Tovstonogov, Anatoly Efros, Mark Zakharov, Yuri Lyubimov and Pyotr Fomenko. The author has been observing the creative performances of the Perm Theatre for several decades. She recorded rehearsals, kept the track of changes in performances and studied the audience’s perception. Reconsideration of theatrical concepts is not simply a change of a director’s conceptual framework, but spontaneous response of an artist to the particular circumstances and changes in natural science and philosophy. The performance does not only gain a new form but also present a new view of life. The article will be of interest to art critics, culture experts, theatrical figures and the audience as well as everyone who are interested in the theatre and the relation between the theatre and society.
Keywords: theatrical language, directing, rehearsals, ‘new rationality’, view of life, resource for development, turning points of the history, audience’s perception, artist’s response, artistic displays.
Yurkevich P. D. Filosofskie proizvedeniya. M., 1990. S. 358.
Fromm E. Psikhoanaliz i etika. M., 1993.
Frankl V. V poiskakh smysla. M., 1990.
Stanislavskiy K. S. Sobr. soch.: V 8 t. M., 1954-1961.
Tynyanov Yu. N. Pushkin i ego sovremenniki. M., 1969.
Mudragey N. S. Ratsional'noe i irratsional'noe. M., 1985.
Nemirovich-Danchenko V. I. Rozhdenie teatra. M., 1989.
Kul'turno-istoricheskiy protsess i problemy ratsional'nosti. Kiev, 1985.
Kasavin I. T., Sokuler Z. A. Ratsional'nost' v poznanii i praktike. M., 1989.
Kapra F. Dao fiziki: issledovanie paralleley mezhdu sovremennoy fizikoy i mistitsizmom Vostoka. SPb., 1994.
Ivinskikh G. P. Zhizn' v zerkale stseny. Perm', 2002.
Dzhindzhikhashvili N. Ya. K voprosu o psikhologicheskoy neobkhodimosti iskusstva // Priroda. Funktsii. Metody issledovaniya: V 4 t. T. 2. Tbilisi, 1978.
Zakhava B. E. Masterstvo aktera i rezhissera. M., 1973.
Anokhin L. K. Izbrannye trudy. Filosofskie aspekty teorii funktsional'nykh sistem. M., 1978.
Aristotel'. Poetika // Aristotel' i antichnaya literatura. M., 1978.
Hübner K. Die Wahrheit des Mythos. München, 1985.
Newton-Smith W. H. The rationality of science. Boston, 1981
Rationality in science and politics. Dortrechtets, 1984. 19 Schnädelbach H. Rationalität. Frankfurt a M., 1984. 20. Zur Kritik der wissenschattlichen Rationalität. Freiburg – München, 1986.
Correct link to this article:
just copy this link to clipboard