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1
LIZUNOV, PAVEL. "POSTCARD PORTRAIT: LIFE AND FATE ARTISTS OF THE IMPERIAL MARIINSKY BALLET THEATER LYDIA MUROMSKAYA (CHUPYATOVA)." History and Modern Perspectives 4, no. 4 (December 28, 2022): 113–21. http://dx.doi.org/10.33693/2658-4654-2022-4-4-113-121.
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The article is dedicated to the ballet dancer L.N. Muromskaya (Chupyatova). After completing the course of the ballet department of the St. Petersburg Theater School in 1906, she was accepted into the ballet troupe of the corps de ballet of the Imperial Mariinsky Theater. She danced with such «stars» of Russian ballet as M.F. Kshesinskaya, A.P. Pavlova, T.P. Karsavina, A.Ya. Vaganova, V.F. Nezhinsky and others. In 1912, Muromskaya became the first dancer of the Mariinsky Theatre. There was only one step left before the title of ballerina, i.e., obtaining the highest rank in the hierarchy of Russian ballet theaters. She did not manage to go through this last segment of her creative path for many reasons. In 1920, at the age of 32, she committed suicide.
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Magidovich, Marina Leоnidovna. "The Potential of Ballet Performances in the Development of Situational Cultural Tourism, Based on the Study of the Audience of the St. Petersburg state Academic Boris Eifman Ballet Theater in St. Petersburg." Теория и практика общественного развития, no. 11 (November 6, 2020): 20–26. http://dx.doi.org/10.24158/tipor.2020.11.2.
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The paper presents data on the results of the re-search on the potential of performances of the St. Petersburg state Academic Boris Eifman ballet thea-ter (Boris Eifman Theater) as a tourist destination, using the example of studying the cultural prefer-ences and practices of visitors to this theater. The main data on the theater audience was obtained during a visit to the performances of the Boris Eif-man Theater in St. Petersburg, in March – April 2019. We can note the significant specifics of the audience of a particular theater, which is due to both the crea-tive method of the theater's artistic Director B. E. Eifman, and the organization of the theater's theatri-cal, stage and tour process. The identified character-istics of the theater audience, as well as the study of the tourist market of St. Petersburg, allowed us to conclude that it is possible to develop a certain segment of situational cultural tourism in St. Peters-burg, both for domestic and outbound tourism.
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Gordeev, Petr N. "Ivan Vasilyevich Ekskuzovich — Architect and Theater Figure." Vestnik of Saint Petersburg University. Arts 14, no. 1 (2024): 34–59. http://dx.doi.org/10.21638/spbu15.2024.103.
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For the first time the article gives a biographical study of the major theatrical figure and St Petersburg architect I. V. Ekskuzovich. Having graduated from the Institute of Civil Engineers in his youth, he has built several buildings in the capital of the Russian Empire, but his lifework was the management of academic theaters in Leningrad and Moscow. In this article there was first established the existence of the “Ekskuzovich coterie” in 1917, which also included V. E. Meyerhold, conductor N. A. Malko and a certain number of the artists of the Mariinsky Theatre; the role of the coterie in the nomination of Ekskuzovich to the post of the head of the theater department at the end of 1917. The article summarizes the extensive material related to his administrative activities in theaters: the role of Ekskuzovich in the creation of the association of academic theaters, his official and personal correspondence with artists and the People’s Commissar of Education A. V. Lunacharsky. Based on the reviews of memoirists, private correspondence of artists and a number of anniversary addresses, a conclusion is made about the significant popularity of Ekskuzovich in the artistic environment. It is emphasized that the resignation of Ekskuzovich in 1928 took place against the will of Lunacharsky, who lost by the end of the 1920s his real power in the People’s Commissariat for Education. The activity of Ekskuzovich as a theorist and practitioner in mechanization of the theater stage, as well as one of the leading engineers in the park management of Leningrad in the 1930s, is also traced. The monograph “The Theater Stage in the Past and Present” published by him in 1930, Ekskuzovich’s work on the continuation of this research, as well as his work on equipping the stages of Soviet theaters, including the work on the theatrical part of the Palace of Soviets, are considered. The article is based mainly on archival data; materials used 13 archives and manuscript departments of museums and libraries.
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Karelina, Yekaterina. "Tuvan Composer Ayana Oyun (Creative Portrait)." International peer-reviewed journal 11, no. 4 (December 1, 2023): 68–77. http://dx.doi.org/10.59850/saryn.4.11.2023.30.
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Among the modern composers of Tuva, the personality and work of Ayana Oyun are covered little of musicology. The main stages of the composer’s creative biography are noted related to studying at Republican School of Arts and Kyzyl College of Arts, receiving a specialized education at Krasnoyarsk State Academy of Music and Theater, Mikhail Glinka Novosibirsk State Conservatory, as well as additional education at St. Petersburg Theatre Arts Academy. The composer’s creative portfolio is surveyed, providing an analysis of one of the illustrative works — the Piano Quintet. The periodization of creativity works correlates with her education in different universities in Russia and with a change in genre preferences. Thus, during the years of study at Krasnoyarsk Academy of Music and Theater (2001–2007), works of chamber genres were predominated, including the being analyzed Piano Quintet. The return to her native Tyva is marked by the formation of an original author’s style. During these years, interest in theatrical music was shown, and a number of performances with music by Ayana Oyun were staged. During the years of study in St. Petersburg (2013–2018), several musical fairy tales were created and staged: Don’t Fly Away!, Mary Poppins and Her Friends, Khorloo (Wheel). Music appeared for a number of performances at the National Theatre as well. The composer’s contribution to the development of musical theater in Tuva and the revival of the first national opera, Chechen and Belekmaa, by Rostislav Kendenbil are noted. Ayana Oyun is a rare case of a successful combination of a composer and a theater director in one person; her personality is distinguished by deep reverence and adherence to the traditions and practices of Buddhist teaching, striving for constant self-improvement, expansion of professional and spiritual horizons.
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Mächler, Martin. "Ein Quantensprung." Bühnentechnische Rundschau 117, no. 6 (2023): 54–57. http://dx.doi.org/10.5771/0007-3091-2023-6-054.
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Nach dreijähriger Sanierung und Erweiterung wurde das Stammhaus des Theaters St. Gallen am 22. Oktober 2023 wieder eröffnet. Unser Autor durfte schon Mitte September einen Blick hinter die Kulissen werfen, um das auch technisch rundum erneuerte Theater zu erkunden. Für Vorfreude sorgte da schon neben besseren Arbeitsbedingungen für viele Gewerke und mehr Platz für Tanz- und Chorproben auch die neue Audio-, Video-, Kommunikations- und Beleuchtungsinfrastruktur. Von Martin Mächler
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Vinogradova, A. S. "The Man of the Theater from the Environment of P.I. Tchaikovsky: K.N. De‐Lazari." Art & Culture Studies, no. 3 (October 2021): 306–33. http://dx.doi.org/10.51678/2226-0072-2021-3-306-333.
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This paper is dedicated to a creative personality from P.I. Tchaikovsky’s friendly circle, Konstantin Nikolaevich De-Lazari (stage name Konstantinov). Throughout the composer’s life, this artist of almost all theatrical genres (from drama and opera to vaudeville and operetta) maintained friendly relations with Pyotr Ilyich himself, then with his brothers and father. Serving alternately in the troupes of the opera (Bolshoi Theater, Moscow) and drama theaters (Alexandrinsky Theater, St. Petersburg), he did not lose touch with either the musical or dramatic environment and was considered “his own man” behind the scenes of the theaters of both capitals. He was a friend of Pyotr Ilyich’s friends: N.G. Rubinstein, G.A. Laroche; patronized talented actresses who played prominent roles in the destinies of M.I. Tchaikovsky (M.G. Savina) and A.I. Tchaikovsky (A.Ya. Glama-Meshcherskaya). K.N. De-Lazari left several memoir texts; their exact number and significance for the biography of P.I. Tchaikovsky has not yet received a scientific assessment. These texts and their interpretation will help to expand our understanding of the composer’s circle of friends and the synthetism of perception of musical and dramatic theater, characteristic of P.I. Tchaikovsky, his natural artistry, in a broad sense.
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Domanskii, Yuri V. "DIARY OF A THEATER MAN. Book review: Smirnov-Nesvitsky Yu. A. Diaries / publ. and comment. D. D. Kumukova / Russian Institute of Art History. St. Petersburg, 2022. 204 pp., 20 l. ill." Челябинский гуманитарий 66, no. 1 (May 3, 2024): 92–94. http://dx.doi.org/10.47475/1999-5407-2024-66-1-92-94.
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The review examines the diaries of the historian and theorist of theater and drama, playwright, director, founder and longterm director of the St. Petersburg theater “Subbota” Yuri Aleksandrovich Smirnov-Nesvitsky, published in 2022.
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Savell, Shelia C., Allyson A. Arana, Kimberly L. Medellin, Vikhyat S. Bebarta, Crystal A. Perez, Lauren K. Reeves, Alejandra G. Mora, and Joseph K. Maddry. "Descriptive Analysis of Cardiac Patients Transported by Critical Care Air Transport Teams." Military Medicine 184, no. 7-8 (February 27, 2019): e288-e295. http://dx.doi.org/10.1093/milmed/usy426.
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Abstract Introduction Critical Care Air Transport Teams (CCATTs) transport critically ill patients within and out of theaters of combat operations. Studies of the CCATT population reveal as many as 35% of patients have a non-trauma diagnosis, of which more than half are cardiac. The purpose of this retrospective study was to describe the epidemiology of critically ill patients with cardiac diagnoses evacuated from theater via CCATT. Materials and Methods We conducted a retrospective review of 290 medical patients with a primary cardiac diagnosis transported from any theater of operation to Landstuhl Regional Medical Center, Germany from January 2007 to April 2015. Results The majority of patients were male with an average age of 46 ± 11 years, US contractors (47%, n = 137), followed by US Active Duty (32%, n = 93). Patients had an average BMI of 29 ± 5; 62% of cardiac patients were either overweight or obese. The most common cardiac diagnoses were ST elevation myocardial infarction, Non-ST elevation myocardial infarction, and angina. Pre-flight vital signs indicate overall patients were stable prior to evacuation, with the majority receiving supplemental oxygen and only 5% requiring mechanical ventilation. Eighty-one percent of patients experienced at least one cardiac event during flight, however less than 5% required adjustment to oxygen or ventilator settings. Conclusions Critically ill cardiac patients make up a significant portion of patients transported out of the combat theater. These patients are older, overweight and have identified risk factors for cardiac morbidity. More strenuous pre-deployment screening for risk factors and prevention strategies could minimize the use of military resources to evacuate these patients from the combat theater.
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Gaivoronskiy, I. V., and M. V. Tvardovskaya. "To the history of the creation of anatomical theaters in the Medical and Surgical (Military Medical Academy)." Bulletin of the Russian Military Medical Academy 22, no. 2 (June 15, 2020): 256–61. http://dx.doi.org/10.17816/brmma50083.
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Was established that the prototype of anatomical theaters in Russia was the anatomical theater of Leiden University (Holland), built in 1575. This theater is shown in color engraving of Cornelius Woodan, created in 1610. In St. Petersburg, at the Department of Anatomy and Physiology of the Imperial Medical and Surgical Academy, this engraving was received in 1805 as part of the collection of the anatomist V. Kruikshenk, acquired for the academy with the direct assistance of Emperor Alexander I. In Russia, the first anatomical theater appeared only in 1708. It was created at the Moscow Medical and Surgical Academy. Historians connect his appearance with a visit in 1697 by Emperor Peter the I of Leiden University. In St. Petersburg, the history of anatomical theaters dates back to the PetrovskayaKunstkamera, built in 1722. It demonstrated rarities - freaks, and also heard scientific reports. Russian anatomical theaters as an arena for the production of public spectacular autopsy did not receive their development but became an integral part of the anatomy department at higher educational institutions. Such an anatomical training theater was built at the foundation of the Imperial Medical and Surgical Academy on the right bank of the Neva in a stone two- story building. The first head of the Department of Anatomy and hysiology, P.A. Zagorsky took part in its design and equipment. Zagorsky. There was a table in the center of the amphitheater, the dimensions of which made it possible to demonstrate a whole corpse at a lecture, to conduct physiological experiments. In this amphitheater, lectures were given by Professor P.A. Zagorsky, I.V. Buyalsky, P.A. Naranovich. It lasted until 1871. The creation of a new anatomical theater in Imperial Medical and Surgical Academy is associated with the name of Professor V.L. Gruber, who after N.I. Pirogov headed the Anatomical Institute. In 1857, V.L. Gruber visited 13 anatomical institutes in Germany and in his trip report substantiated the idea of building a new anatomical building - a specialized Anatomical Institute. V.L. Gruber report was approved by the Academy Conference, headed by its head - P.A. Dubovitsky. In 1864, the building was laid, the construction of which was completed only in 1871. The construction was carried out under the guidance of an engineer - captain of the academician of architecture K.Ya. Sokolova. In this three-story building, the current Anatomical building, two classrooms were built in each wing - № 1 and № 2. They look like an amphitheater and are a prototype of the best European anatomical theaters. Currently, overhaul has been carried out in this building; the design of the anatomical theater has been preserved in classrooms 1 and 2. These auditoriums, which are a historical monument of the Imperial Medical and Surgical Academy, are equipped with modern technical training aids. It is in these classrooms that cadets and students of the S.M. Kirov Military Medical Academy are currently starting their journey into medicine.
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Gorodnicheva, Marina A. "GENRE OF THEATRICAL REVIEW IN THE WORK OF N. V. GOGOL." Sign problematic field in mediaeducation 49, no. 3 (November 30, 2023): 68–75. http://dx.doi.org/10.47475/2070-0695-2023-49-3-68-75.
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The purpose of the article is to consider the ideological, thematic and genre features of the theater review in the works of Nikolay V. Gogol, as well as to identify the writer’s views on the development of the theater in the mid-1830s. Based on the analysis of the texts «Petersburg Notes for 1836» and «The Petersburg stage in 1835/36», the patterns of development of the Gogol’s aesthetic concept are determined. The writer perceives the theater as the center of the cultural life of St. Petersburg society, sees in theatrical art a huge potential for moral improvement and social transformation.In the discussions about the repertoire of the St. Petersburg stage, the ideas of the sacralization of art and the poet’s mission are manifested. N. Gogol attaches special importance to the genre of comedy – «spiritual», based on intellectual humor and satire.Gogol’s theatrical review is distinguished by such features as mosaic composition, essayization. Genre synthesis (review, writer’s notes, essays, etc.) and the widespread use of artistic visual and expressive means are noted as the most important features of Gogol’s criticism and journalistic works.The research contributes to the study of theater journalism and Gogol’s activities as a theater critic.
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Fokin, Pavel E., and Ilya O. Boretsky. "The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)." Dostoevsky and world culture. Philological journal, no. 4 (2020): 219–41. http://dx.doi.org/10.22455/2541-7894-2020-4-219-241.
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The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.
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Fokin, Pavel E., and Ilya O. Boretsky. "The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)." Dostoevsky and World Culture. Philological journal, no. 4 (2020): 219–41. http://dx.doi.org/10.22455/2619-0311-2020-4-219-241.
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The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.
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Anisimov, Alexander V. "The environment of the cinematic spectacle. The architecture of the early Russian movie theaters." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 8–20. http://dx.doi.org/10.17816/vgik1128-20.
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The emergence of cinema brought about the issue of forming a comfortable environment for film screenings. This essay analyzes the characteristics of the first spaces used for film exhibition in St. Petersburg and Moscow and the architecture of the movie theaters built in these cities in the first decades of the 20th century and characterized by a combination of theatrical architectural traditions, eclectic restaurant design and elements of the fading Art Nouveau style.
Film exhibition was a profitable business. Initially, screenings were held in rented spaces but soon specialized buildings were designed and constructed. The essay looks at the largest and most popular movie theaters built in St. Petersburgs main street, Nevsky Prospect, and in the center of Moscow, discussing their architectural features and their historical development. Thus, during the 1920s and 1930s, large movie theaters included a foyer with a stage for variety shows and a theater-like auditorium with a high-mounted, dark-framed screen; the spectators entered the auditorium via the main entrance and, after the screening, exited directly to a street or a yard.
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Drozdov, N. A. "A. A. BRYANTSEV’S PEDAGOGICAL IDEAS IN THE PERIOD OF SOVIET SCHOOL REFORM (THE 1920S)." Pedagogical IMAGE 16, no. 3 (2022): 268–77. http://dx.doi.org/10.32343/2409-5052-2022-16-3-268-277.
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Introduction. The paper deals with the main pedagogical ideas of A.A. Bryantsev, the founder of the first Theater for Young Spectators (TYS), which were spread during the period of reforms in the education system in the 1920s. The paper aims to reveal the pedagogical ideas of the first artistic director of the theatre. Materials and Methods. The methodology of the study is based on the sociocultural approach using the biographical method. Materials from the archive and museum of St. Petersburg Theatre for Young Spectators named after A.A. Bryantsev, the Central State Archive of Literature and Art of St. Petersburg; autobiography and articles by A.A.Bryantsev; a biography dedicated to the artistic director of the Theatre for Young Spectators, S.D. Zeltser; research works on the history of the Soviet school in the 1920s by Elena Kolosova and Natalia Fedorova were reviewed and analyzed. Results of the study. The main normative documents, and the events, which strengthened the significance of the ties between the theatre and schools of the city, are listed. The description of the consequences of the reforms allows identifying the specifics and possibilities of the activity of A.A. Bryantsev and teachers of St. Petersburg (then Leningrad) TYS during the period under study. As conceived by the founders, Leningrad Theatre for Young Spectators was created as an educationally oriented theater. The study has considered pedagogical principles of the Leningrad Theatre for Young Spectators and traced the main landmarks of the Theatre’s development in the 1920s, namely, the first performance “The Little Humpbacked Horse,” the organization of its pedagogical activity, and the establishment of the Assembly of Delegates. The main objectives to be accomplished by the pedagogical activity of the theatre and the delegates of the Theatre have been presented as the basic links between the theatre and school. The role and significance of theatrical performance in the educational work of the theatre and the performance requirements imposed by the artistic director of the TYS are outlined. The evidence that the spectator is the pivot of the creation, selection, and delivery of performances is examined. Conclusions. The ideas of A.A. Bryantsev are reflected in the organization of pedagogical work and Assembly of Delegates at the Theatre for Young Spectators, in the implementation of the concept of “theatre-home” for children, in the involvement of different social groups in the discussion of educational issues, and in the dissemination of positive experience of Leningrad Theatre for Young Spectators all over the world.
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Laslavíková, Jana. "Sacrosanctity or Duty? The Reception of Beethoven’s Fidelio in the Context of the Cultural-Political Situation in the Second Half of the Nineteenth Century in Pressburg." Studia Musicologica 61, no. 1-2 (April 13, 2021): 81–97. http://dx.doi.org/10.1556/6.2020.00007.
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Staging Beethoven’s Fidelio in the second half of the nineteenth century in Pressburg drew on a long- standing Beethoven tradition prevalent in the town. Also, it stood at the center of protests against the growing influence of Hungarian theater in the newly constructed theater building since Fidelio was performed always at a time when the renewal of an agreement with a German-speaking director was being decided on (1889, 1892, 1895). The opera was staged with the participation of the choral societies and musical associations of the town. Its performances were held close to the annual festive masses of the most well-known association of Pressburg, the Church Music Association of St. Martin’s Cathedral (Germ. Kirchenmusikverein bei der Dom-, Kollegiats- und Stadtpfarrkirche zu St. Martin, Hung. Szent Márton Pozsonyi Egyházi Zeneegylet), where Beethoven’s Missa solemnis was performed. This enhanced the efforts of the supporters of the German theater to call Beethoven’s œuvre a carrier of “true art” and humanism and use it as a symbol of cultural identity in the discussions led about preserving the German season in the Municipal Theater (Germ. Stadttheater, Hung. Városi Színház).
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Gavrilova, Natalia. "Trends in modern theatrical interpretation of A. P. Chekhov's play “Uncle Vanya”." Litera, no. 10 (October 2020): 28–36. http://dx.doi.org/10.25136/2409-8698.2020.10.33890.
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This article is dedicated to the analysis of trends in interpretation of A. P. Chekhov's play “Uncle Vanya” in modern theater. The subject of this research is the four theatrical productions of the play on the national stage: by Rimas Tuminas in Vakhtangov Theatre (2009), by Andrei Serban in Alexandrinsky Theater (2009), by Andrei Konchalovsky in Mossovet State Academic Theatre (2009) by Stéphane Braunschweig in the State Theatre of Nations (2019). These productions reflect the eternal existential questions raised in A. P. Chekhov’s play, as well as the relevant transformations in modern perception of the play. Examination of the aforementioned productions, as well as their analysis in the context of Chekhov's play and modern life realities in comparison with such in the XIX century, has not previously become a separate object of research. The scientific novelty consists in comprehension of the message delivered by play written in the late XIX century for the XXI century, as well as in determination of problems relevant to a contemporary person that are raised in the play. Using the meaning-making topics of the play, stage directors imply death of kindness, deterioration of nature and human, human disunity and misunderstanding. Therefore, the play “Uncle Vanya” indicates its timeliness and everlasting lifelikeness for the XXI century.
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Kudina, Ekaterina O. "To the creative history of Yuri Belyaev’s play Psisha." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (February 21, 2022): 72–77. http://dx.doi.org/10.18500/1817-7115-2022-22-1-72-77.
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The paper examines the creative history of the play Psisha by Yuri Belyaev – a theatre critic, fiction writer and dramatist of the Silver Age. While working on the article cycle A night at “The Opera House” about theatre history of the times of Catherine II, the critic researched historical sources: periodical, fiction, documents of the second half of the 18th – early 19th centuries. There Belyaev must have found the material for his early fictional experience – the historical short story Psisha. Among the characters of the story were a landowner – аn avid theatergoer, and the actors of his serf company. In this story the set of themes is defined, which the writer will develop further in his later works: the court and the serf theatres, the repertoire, the tragic fate of dependent actors. Later Belyaev addressed the theme of the serf theater as a dramatist and his artistic pursuits resulted in the play Psisha. The stage version had a great audience success in Moscow and St. Petersburg in the 1911–1912 theatrical season and was highly appreciated by theater observers in newspapers and journals. Judging by the reviews in the periodical press, the author of Psisha managed to strike the right balance between stylizations that became relevant during this period, the recreation of everyday scenes of the era and a sentimental psychological drama from the life of serf actors. Thus, it was possible to establish that Belyaev’s first works on the history of the Russian theater and his first literary works shaped the main themes and images of one of his most famous dramas.
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Рогачев, Сергей Вячеславович. "The Heraldic “Theater” of Russian Cities." Городские исследования и практики 1, no. 4 (May 31, 2017): 47–57. http://dx.doi.org/10.17323/usp14201647-57.
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The usurpation of the right to unite the surrounding territories bestowed some exclusive rights upon Moscow. Which other coat of arms apart from that of Moscow could surround itself with such a suite, such an entourage, of serving shields of arms on its heraldic map? An almost ideal social and geographical model is drawn up around the capital by the coats of arms of Moscow’s retinue: all three principal forces of society are gathered in this national nucleus — those being craftsmen, parishioners and warriors — forming the trade, monastic and defense appendages to St. George’s robe.
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Mankov, Andrei V. "ABOUT THE MIDDLE VOLGA PERIOD IN THE LIFE OF AN OUTSTANDING BIBLIOGRAPHER AND WRITER A.S. POLYAKOV." Historical Search 2, no. 4 (December 20, 2021): 45–54. http://dx.doi.org/10.47026/2712-9454-2021-2-4-45-54.
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In August 2021, the cultural community of St. Petersburg celebrated the 265th anniversary of St. Petersburg State Theater Library, which is known worldwide as the richest repository of materials about the theater and for the theater. It has been collecting its unique fund, including a number of rare and valuable collections, since the XVIII century. The author’s research attention is focused on the facts of the Middle Volga period in A.S. Polyakov’s biography – the legend of one of the country’s oldest libraries. After the Bolsheviks came to power in Russia in 1918–1923, Alexander Sergeevich Polyakov, working as the head of this book depository, largely determined its modern multifunctional appearance. During this difficult period in the life of the state and the society, with great enthusiasm the talented writer edited several different print media, the most famous of which was one of the first theatrical magazines of the Soviet Russia, “The Biryuch of Petrograd State Theaters”. Alexander Polyakov was not a native of St. Petersburg. His small homeland is the Middle Volga region. The author explores the childhood and youth years of the future bibliophile and writer, which he spent in Simbirsk and Kazan governorates. The researcher tells that Alexander was not only born and brought up in the Volga region, but also studied at Simbirsk Classical Gymnasium and the Imperial Kazan University. The article gives some facts about an active participation of this native of Simbirsk in the socio-political life of the Middle Volga region which deserve special attention. For example, in 1901–1904 A.S. Polyakov played a major role in the creation of Kazan and Simbirsk organizations of the Party of Socialist Revolutionaries (SRs). In 1905, he was one of the most famous participants of the First Russian Revolution in the region. So, being under the tacit supervision of the police, Polyakov at that time constantly spoke at meetings and rallies in the town of Simbirsk and some uyezds of Simbirsk province, actively participated in agitation events of social revolutionaries of various kinds. In 1906, a young native of the Volga region moved to an illegal position, and then secretly left the Volga region. In 1907, the future outstanding bibliographer was detained by the police in St. Petersburg and sent into administrative exile. The article also provides previously little-known facts of his personal life. At this, the author tells about Polyakov’s parents and other family members. The specialist paid special attention to his wife, Elizaveta Polyakova (Dubova), a native of the Middle Volga region, who was a St. Petersburg student and a member of the Socialist Revolutionary Party. The young revolutionary was repeatedly brought to administrative responsibility and after the defeat of the revolution of 1905–1907 was exiled to the Eastern Siberia.
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Batarshin, Roman Raifovich. "The phenomenon of digitalization of the drama theater: digital as the latest experience of the Tovstonogov BDT." Философия и культура, no. 5 (May 2023): 11–24. http://dx.doi.org/10.7256/2454-0757.2023.5.40616.
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The development of the vital potential of the drama theater is in a continuous search for new forms of expression. Today, in an attempt to establish itself on the territory of a multicultural environment, as well as in an attempt to gain a unique method of communication with society, the theater as an art sphere expands the boundaries of its purpose. Going beyond the stage space turns out to be an important subject of research from the point of view of the search for the artistic existence of the theater in the conditions of digital reality. This article discusses the issue of finding a place for a drama theater in a digital environment where the energy of human relations is significantly minimized and manifests itself in a specifically different way. The subject of the research for the author was the cultural and creative activity of the Tovstonogov BDT. The St. Petersburg Bolshoi Drama Theater does not need recommendations: it has a great history in the twentieth century, an attractive stage "today" for the audience and, undoubtedly, interesting prospects. In the practice of BDT under the leadership of Andrei the Mighty (2013-2023), there are such turns of dramatic action that are not directly connected with the stage and are almost out of place for the "repertory" theater. The phenomenon of the theater, as if removed from its ancestral roots, leaving the walls breathing tradition, is considered in the article as an experience of cultural and theatrical "exit" to the "stage" of digital reality. Among such experiments, the most significant are the social action "Help the doctors", as well as the experiments of "Minecraft" performances. In addition to the usual comparative historical method for art studies, others will be used, first of all, the formal method, which distinguishes the St. Petersburg school of theater studies. Scientific novelty is determined by the subject of research itself: BDT is considered as a phenomenon of a multi-genre cultural space, in which, as before, a special place is rightfully given to the actor, his role, as well as to the viewer who finds himself in the conditions of a new socio-cultural picture of the world.
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Veledinsky, Oleg Valerievich. "The current stage of interaction between the theater schools of Russia and China in the context of the dialogue of cultures." Философия и культура, no. 4 (April 2022): 25–40. http://dx.doi.org/10.7256/2454-0757.2022.4.37839.
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The article discusses the current topic of international interuniversity exchanges in the field of theater education. The subject of the study is the interaction of theater schools in Russia and China within the framework of the experimental Russian–Chinese theater and educational project of the Central Academy of Drama (Beijing) and the Russian State Institute of Performing Arts (St. Petersburg). The project has been implemented since 2015. According to the terms of the project, Russian and Chinese teachers of acting and special disciplines work together in St. Petersburg and Beijing. Upon graduation, students receive diplomas from two universities recognized in both countries. The author, a direct participant of the project, analyzes the results of this experiment from the position of compliance with the principles and requirements of the dialogue of cultures.  The novelty of the research lies in the substantiation of the cultural value, the prospects of the modern version of the interaction of theater schools in Russia and China. The results of the study were the following conclusions: in the implementation of the Russian-Chinese theater and educational project, all the basic conditions are present and fulfilled, which make it possible to determine the events, events and their results that took place within the framework of the project as a full-fledged dialogue of cultures. Today, as never before, there are points of contact and mutual enrichment of the cultures of Russia and China. There are mutually significant cultural ties, dialogue and interaction of cultures. This variant of intercultural interaction is also productive from the point of view of innovation, creating a unique field of cross-cultural experiments.
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Tyutelova, L. G. "«COMMENTATOR» AS AN ORGANIZER OF A COMMUNICATIVE EVENT IN ASYA VOLOSHINA›S PLAY «GOGOL›S OVERCOAT»." Culture and Text, no. 44 (2021): 56–66. http://dx.doi.org/10.37386/2305-4077-2021-1-56-66.
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The article is devoted to the problem of a communicative event in the drama. In the study, the text of the play is considered as a space of interaction between the minds of the author, reader and hero. The author of the article proves that one of the conditions for organizing a communicative event is the emergence of a “commentator” - a stage directions subject, and the result is the detection of specific ethical and value positions of the modern playwright and their reader. The work defines the features of the «commentator» which their role as an organizer of a communicative event depends on. The research material is the play by the Petersburg playwright Asya Voloshina «Gogol’s Overcoat» and the performances of the Nahum Orlov Drama Theatre (Chelyabinsk) and the St. Petersburg theater «TSEKH».
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Sherard, Hamp. "The Thinking of Students: Free Movie Passes." Mathematics Teaching in the Middle School 6, no. 9 (May 2001): 534–35. http://dx.doi.org/10.5951/mtms.6.9.0534.
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Ann Sullivan, who teaches at St. Norbert School, Paoli, PA 19301, gave the problem to her sixth-grade Advanced Math class. The students solved the problem immediately, finding how many tickets of each color were under the seats of the theater. She then asked them to find different ways to solve the problem. Their various strategies showed evidence of algebraic thinking, whether they used arithmetic or algebra. In each situation the students reasoned that the tickets had to be distributed in sets of 48 tickets, (3 + 19 + 15 + 11), resulting in 432 ÷ 48, or 9, complete sets of tickets hidden under the seats of the theater.
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Goncharova, E. I. "P.P. Pertsov and gazeta «Novoye vremya» (1898–1901) (New aspect of creative biography)." Solov’evskie issledovaniya, no. 3 (September 30, 2020): 157–68. http://dx.doi.org/10.17588/2076-9210.2020.3.157-168.
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The article examines the early stage of cooperation between the writer and philosopher P.P. Pertsov and the conservative newspaper Novoe Vremya (1868–1917). Fragments of Pertsov's archival correspondence with the philosophical writer V.V. Rozanov, Pertsov's father and the critic of the liberal magazine «Russian wealth» A.G. Gornfeld are partially introduced into scientific circulation. The author analyzes the reasons for Pertsov's difficult attitude to the publisher and editor of Novoye Vremya, the playwright and founder of the Maly theater in St. Petersburg, A.S. Suvorin. The author substantiates the conclusion about Pertsov's fundamental differences related to the position of Novoye Vremya in the case of the French officer A. Dreyfus. An overview of Pertsov's publications in the newspaper related to the beginning of his collaboration with the newspaper is given. The author traces the evolution of the attitude of a young critic, a liberal in the recent past, to the «New time». Russian Russian theater and drama is the first time that Pertsov's correspondence with A. Suvorin is introduced into scientific circulation, filled with reflections on Russian theater and Russian dramaturgy. The letters discuss Pertsov's theatrical articles: «About the new theater» (about the production of a play by the German playwright G. Gauptmana «Lonely») and «a Satire or a drama» (about productions of new plays by A.P. Chekhov). Pertsov and Suvorin discuss performances of the Art public theater (Moscow art theater), which opened in Moscow in 1898. In a polemic with a young critic, Suvorin defended the national theater, represented by plays by Russian playwrights, primarily A.N. Ostrovsky. Pertsov advocated a new theater, focused primarily on the production of plays by modern playwrights regardless of their nationality.
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Enukidze, Natela I. "Vladimir Georgievich Ehrenberg: A Mocker’s Fate." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 35–46. http://dx.doi.org/10.56620/2782-3598.2023.1.035-046.
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The article presents for the first time in Russian music scholarship an artistic portrait of one of the theater-related musicians of the Silver Age — Vladimir G. Ehrenberg. The composer contributed almost fifteen years of his artistic life serving in cameo theaters, the most significant of which was Krivoe zerkalo [Distorted Mirror]. Together with Alexander Kugel and Zinaida Kholmskaya, Ehrenberg stood at the origins of this St. Petersburg cabaret, and subsequently (with a few interruptions) he carried out the duties not only of a composer, but also a conductor and the head of the music department. The aesthetic platform of Distorted Mirror was determined with Ehrenberg’s participation. It was particularly after the production of his opera parody Vampuka, the African Bride that the theater set a course for dethroning the clichés of various theatrical genres. The composer took an active part in the so-called anti-opera campaign launched by the leaders of the Distorted Mirror, and created a number of plays that were very successful among his contemporaries. Among them were Rychalov’s Tour, The Cruel Baron, The Action on the Protested Promissory Note and others. Operetta and pantomime, cantatas and romances, and symphonic music also came in his view (The Modern Symphony, Schumette of Digestion). An ironic view of musical and theatrical clichés has made it possible Ehrenberg to become virtually the chief musical parodist of his time. In his experiments, Ehrenberg, possibly unwittingly, forestalled certain techniques intrinsic to music of later times, including elements of instrumental theater (in his “memo-melo-tragi drama” When knights were Valiant) and the use of non-artistic texts for artistic purposes (The Action on the Protested Promissory Note).
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Waller, Simone. "Provoking Performance: Printed Dialogue and Early Modern Publics in Christopher St. German's Salem and Bizance." Journal of Medieval and Early Modern Studies 51, no. 3 (September 1, 2021): 431–51. http://dx.doi.org/10.1215/10829636-9295016.
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This essay argues that Christopher St. German made tactical use of the dialogue form to cultivate a public in his print controversy with Thomas More on the subject of reform. Publishing in the early 1530s, More accused St. German of disseminating disgruntled speech in print absent a real constituency of speakers voicing such complaints. St. German countered More's critique by incorporating a dialogue between the characters Salem and Bizance that conflated the reading of his printed works with the speaking and sharing of their political concerns. Although the role of performance in early modern politics has long been recognized in connection to the theater and theatricality, St. German's work demonstrates that early print also invoked the bodily interactivity and iterability characteristic of performance in order to script readers’ use of the relatively new medium. St. German's Salem and Bizance dialogue thus prompted print readers to understand themselves as, and indeed to become, partisan members of a public speaking in and about the debate.
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Harutyunyan, M. "THE COVERAGE OF THE THEATRICAL LIFE OF ARTSAKH IN THE SECOND HALF OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY ON THE PAGES OF THE NEWSPAPER “KARABAKH” (1911-1912)." ASJ 1, no. 50 (July 1, 2021): 4–9. http://dx.doi.org/10.31618/asj.2707-9864.2021.1.50.106.
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Thus, summarizing our scientific research, we can clearly emphasize that theatrical art flourished in Artsakh in the second half of the 19th century and the beginning of the 20th century. It should be noted that until the second half of the 19th century, the Armenians of Artsakh had their theatrical traditions for centuries. There was theater in dance art, at parties and events. But there was no professional theater yet, preconditions were created for that only when in 1865 famous figures of the Armenian theater Gevorg Chmshkyan, Mihrdat Americyan and Sedrak Mandinyan came to Shushi. And the Mkrtich Khandamiryan Theater was built in Shushi in 1891. It had a 350-seat hall.
Separate issues related to the socio-economic, political and cultural events in Artsakh were covered in almost all issues of the three-day literary-social newspaper "Karabakh". Covering the theatrical art of Artsakh in 19111912, the newspaper emphasized that the theater continued to flourish in that period. Theatrical performances took place in different parts of Artsakh. A number of interesting and multi-genre theatrical performances took place at the Diocesan school of Shusha, at the Mariamyan girls 'school, at the Hripsimyan girls' school, at the school of the Saint Astvatsatsin church of Aguletsots, at the school of boys of the Saint Astvatsatsin church of Megretsots, at the Mariam-Ghukasyan school, at the school of Realakan. A number of interesting and multi-genre theatrical performances also took place at the Diocesan School of Shushi, at the Girls' School of Mariamyan, at the Girls' School of Hripsimyan, at the school of Aguletsots St. Astvatsatsin Church, at the Boys' School of Meghretsots St. Astvatsatsin Church, at the school of Mariam-Ghukasyan, at the school of Realakan, at kindergartens, in private homes of wealthy people and at other places at that time.
Numerous multi-genre performances also took place in 1911-1912: "Adam and Eve" Vardanank, " The savage", "The Charlatan", "Heart is a mystery", "Naughty", "The Valley of Tears", "The Engaged" drama, "Modern Heroes" comedy, famous playwright Gordin's drama "The devil", the drama "Christine", Nardos' drama "The Killed Dove", Measnitsky's drama "I died" and other performances.
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Morgan, Jack. "“The Dust of Maynooth”: Fenian Funeral as Political Theater—St. Louis, 1865." New Hibernia Review 2, no. 4 (December 1998): 24–37. http://dx.doi.org/10.1353/nhr.1998.a926631.
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Keener, Andrew S. "Japan Dramas and Shakespeare at St. Omers English Jesuit College." Renaissance Quarterly 74, no. 3 (2021): 876–917. http://dx.doi.org/10.1017/rqx.2021.103.
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This essay examines how Catholics at the English Jesuit College at Saint-Omer reflected on Japanese religious politics during the 1620s and 1630s, both through translated mission reports and drama. This analysis expands scholars’ view of English encounters with Japan; it also decenters predominantly Eurocentric approaches to early modern Jesuit education and theater. The essay concludes with a discussion of Shakespeare and George Wilkins's “Pericles,” a quarto playbook of which was possessed by St. Omers and which, through the generic elements of romance it shared with the Japan material, provided further opportunities for the college's Catholics to consider transcontinental religious politics.
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Maley, Patrick. "Desire under Dylan: Robert Falls, Bob Dylan, and the Domestic Tragedy of Eugene O'Neill." Eugene O'Neill Review 37, no. 1 (March 2016): 21–40. http://dx.doi.org/10.5325/eugeoneirevi.37.1.21.
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Abstract This article suggests that the 2009 production of Desire under the Elms, directed by Robert Falls first at Chicago's Goodman Theater and later at Broadway's St. James Theater, shifts the tragic crux of the play away from the adulterous sex in the parlor and onto the shoulders of Ephraim Cabot, who errs in attempting to establish normative domesticity. The Falls production, which was without elms, featured a full-sized house hanging above the stage surface, and inserted in the space between O'Neill's first two acts a long montage of domestic chores set to the soundtrack of Bob Dylan's “Not Dark Yet.” These factors and others contribute to the performative condemnation of Ephraim Cabot, underscoring how Desire belongs in the company of many other O'Neill plays that are deeply critical of normative domesticity.
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Susidko, Irina P., and Veronica S. Kalistratova. "International Conference Ballet in Musical Theatre: History and Present Time. An Interview with the Conference Curator Irina P. Susidko." Contemporary Musicology, no. 4 (2022): 4–16. http://dx.doi.org/10.56620/2587-9731-2022-4-004-016.
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November 21-25, 2022, the Gnesin Russian Academy of Music hosted a large-scale conference focusing on ballet. The conference took place as part of the strategic academic leadership program Priority 2030 and was effective in meeting its aims and objectives. One of them concerns the consolidation of academic efforts in the most sought-after research avenues. The conference was organized by the Center for Musical Theater Studies established in the Academy earlier this year. For the first time in history the conference was hosted by a consortium of conservatories and research institutes. Among them are the Gnesin Russian Academy of Music, the Moscow State Academy of Choreography, Zhiganov Kazan State Conservatoire, Vaganova Ballet Academy, Rimsky-Korsakov St. Petersburg State Conservatory, Russian Institute of Art History, and the State Institute for Art Studies. Each of the five universities and two research institutes made their contribution to the conference agenda. In total, the conference brought together 200 speakers from eleven countries, including Russia, Azerbaijan, Belarus, Hungary, Greece, Kazakhstan, Serbia, US, Uzbekistan, Switzerland, and Japan. The conference run across six venues in Moscow, St. Petersburg and Kazan and discussed a range of issues in ballet history and state of the art. The key among them are ballet as a synthetic art form; music–gesture–dance: coordination and dialogue; history of ballet; sources, reconstruction of scores and stage plays; choreographers and composers; ballet music in a composer’s oeuvre; compositional poetics in music and dance; conductor and ballet scores; plots, libretto and their literary sources; theatre design and scenography in ballet; dancing in opera; national schools of choreography: similarities and differences; ethnic choreography; music and ballet training; 20th century choreographic experiments; ballet in culture and society (reception and critique). The issue of Contemporary Musicology you are holding features an interview given to Veronika Kalistratova by the Conference curator Prof. Irina P. Susidko, Doctor of Art Studies, Head of the Center for Musical Theater Studies at the Gnesin Russian Academy of Music.
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Smith, Phil. "Actors as Signposts: a Model for Site-based and Ambulatory Performances." New Theatre Quarterly 25, no. 2 (May 2009): 159–71. http://dx.doi.org/10.1017/s0266464x09000256.
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In this paper Phil Smith examines the proposal of Simon Persighetti of Wrights & Sites for actors to behave ‘as signposts’. It describes the circumstances from which the proposal arose, a particular moment in the work of site-specific artists/performers Wrights & Sites, and argues for the wider application of the proposal to the making of site-based theatre and performance. The paper describes four main features of the proposal for ‘actors as signposts’ – pointing to specificity, movement from anti-character to collective subject, performance as trajectory, and the restoration of corporeality – illustrating these with reference to the work of Punchdrunk, Francis Alÿs, and geographer Michael Zinganel, among others. Phil Smith is a Senior Research Associate at the School of Art and Media, University of Plymouth and Visiting Lecturer at the University of Exeter and Dartington College of Arts. Author and co-deviser of over a hundred plays or performances for companies including St Petersburg State Comedy Theatre, Tams Theater (Munich), and New Perspectives (Nottingham), he is company dramaturg for TNT (Munich) and a core member of Wrights & Sites. His solo walking-based performances include The Crab Walks and Crab Steps Aside (texts published by Intellect, 2009).
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Nikiforova, Larisa V., and Anna M. Zinovyeva. "Theodore Géricault’s Living Picture “Raft of the Medusa” in Scenography: Visual Experience of the Romantic Era." Vestnik of Saint Petersburg University. Arts 13, no. 4 (2023): 639–63. http://dx.doi.org/10.21638/spbu15.2023.403.
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This article demonstrates the connections between visual and the theatrical mise en scène, raises the question of the inclusion of a live painting in the theatrical narrative as a form of interpretation of original painting, and finally presents the diversity of visual experience of the era in which static images coexisted with the moving ones. For the first time Géricault’s painting was animated on stage in 1820, a year after it was exhibited at the Salon (W. T. Moncrieff ’s melodrama “The Wreck of the Medusa, or the Fatal Raft”, London). Then in 1839 audiences saw it in Paris in a drama by Ch. Denoyer at the Théâtre Ambigue Comique and in an opera by F. Flottov to a libretto by the Cognard brothers at the Théâtre Renaissance. Denoisier’s drama proved to be the most suitable for transfer to other stages, and from 1847 to 1876 Géricault’s picture came to life at the Alexandrinsky Theatre in St. Petersburg, and on other Russian stages until 1914. As far as we know, none of the Russian art and theatre historians have paid attention to the stage embodiment of the famous picture. In the works on the history of Russian theater, Ch. Denoyer’s play is mentioned, but no more than that. On the contrary, foreign researchers of the 19th century art treat with great interest the interaction of painting, theater, and new optical spectacles in a single field of visual experience, including such classics of visual studies as P. Virillo and J. Creri. But neither they nor others have touched the Russian material. The article fills the gap in Russian art history and presents an analysis of the contexts in which the story of the Géricault’s living picture aroused interest; it traces the history of the transfer of Géricault’s painting to the Russian stage basing on archiveal sources.
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Ervin, Keona K. "We Rebel: Black Women, Worker Theater, and Critical Unionism in Wartime St. Louis." Souls 18, no. 1 (March 14, 2016): 32–58. http://dx.doi.org/10.1080/10999949.2016.1162561.
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Lazarev, S. "«The exponent of the moral principles of his era, his people»: to the 115th anniversary of the People's artist of the USSR Yuri Vladimirovich Tolubeyev." Voprosy kul'turologii (Issues of Cultural Studies), no. 4 (April 1, 2020): 24–43. http://dx.doi.org/10.33920/nik-01-2004-04.
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The paper is devoted to the Soviet actor of theater and cinema Yuri Vladimirovich Tolubeyev (1906–1979). His life and career are traced, the most famous works are mentioned. The materials of the Russian state archive of literature and art (Moscow) and the Central state archive of literature and art (St. Petersburg) are introduced into scientific circulation for the first time, the most interesting of which are letters addressed to the actor from grateful spectators with reviews of his work.
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Rovner, Anton A. "Interview with Composer and Pianist Sergei Oskolkov." Problemy Muzykal'noj Nauki / Music Scholarship, no. 3 (2022): 70–77. http://dx.doi.org/10.56620/2782-3598.2022.3.070-077.
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In this interview the famous St. Petersburg-based composer and pianist Sergei Oskolkov tells about his music, his biography and about the festival for the arts “Sergei Oskolkov and his Friends” of which he is the artistic director. The musician presents a characterization of the main stylistic parameters of his music and how there are manifested in certain particular musical compositions of his written in the genres of opera, orchestral, chamber, piano and incidental music for the theater. He describes the festival for the arts directed by him, which has been organized for the last 25 years in St. Petersburg and its suburbs. According to the main principles of its organization, classical and contemporary music, paintings, poetry, cinema and presentations of new books are demonstrated in it on an equal footing.
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Dianina, Katia. "Passage to Europe: Dostoevskii in the St. Petersburg Arcade." Slavic Review 62, no. 2 (2003): 237–57. http://dx.doi.org/10.2307/3185576.
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The St. Petersburg Passage—a shopping arcade and recreation complex, comprising restaurants, exhibitions, amateur theater, and the Literary Fund—was a remarkable center of public life in imperial Russia. Contemporary journalists wrote incessantly about the Passage, celebrating the various forms of popular entertainment that it offered. In his strange unfinished story “The Crocodile,” which also takes place in the Russian arcade, Fedor Dostoevskii parodies this trivial discourse of the daily press. Urban spectacles and their refraction in the mass-circulation media are the main targets of his caricature of westernized popular culture in Russia. The writer's response to Russian modernity, as it was taking shape in the age of the Great Reforms, is expressly negative. Dostoevskii believed that in a decade defined by the rise of civic consciousness, the Russian press should address vital social concerns at home instead of celebrating ephemeral cultural imports, such as the arcade and the newspaper feuilleton.
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Gilbert, Keon L., Elizabeth A. Baker, Karen Bain, Julia Flood, and John Wolbers. "Say Something, Do Something: Evaluating a Forum Theater Production to Activate Youth Violence Prevention Strategies in Schools." International Journal of Environmental Research and Public Health 21, no. 1 (December 27, 2023): 39. http://dx.doi.org/10.3390/ijerph21010039.
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Background: Youth violence that takes place within school settings exposes youth to serious social, mental and physical consequences that affect education performance, and life opportunities. Previous work shows positive youth development frameworks can promote social-emotional learning by enhancing empathy and building problem-solving and conflict management skills. Theater-based interventions have been shown to enhance social emotional development by privileging youth voices, and building youth capacities and strengths. The current manuscript presents the evaluation of an arts-based and public health framework conducted to assess the development, implementation and impact of a forum theater production, Say Something, Do Something (SSDS) in St. Louis, Missouri. Methods: An iterative mixed methods approach was used, starting with observations of productions. Using convenience sampling, we then conducted post interviews of the theater team (n = 8) and school personnel (n = 10). Results: Respondents highlighted that as a result of engagement of school personnel in program development, the language and scenarios presented were relevant to students. Data indicated that SSDS increased student knowledge and changed attitudes, developed student conflict management and problem-solving skills, and improved interpersonal behavior. SSDS also raised awareness of the importance of, and created the foundation for, additional system and policy changes in the schools. Conclusion and implications: Forum theater is an approach that can enhance socio-emotional learning and conflict management among youth. Collaborative initiatives between public health and the arts are poised to uniquely engage community partners, animate interventions, and impact critical public health issues including youth violence prevention.
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Shakleeva, A. I. "Foolishness in Modern Russian Theater (Based on the Director's Concept of Lev Ehrenburg)." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 27, no. 2 (2021): 132–39. http://dx.doi.org/10.15826/izv1.2021.27.2.037.
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The article examines the foolishness as one of the ways of a new representation of reality in art on the example of the director’s concept of Lev Ehrenburg. The author analyzes the performances of the Nebolshoy Drama Theater in St. Petersburg in the 1990-2010s, tracing the influence of the aesthetic paradigm of foolishness on the director’s method. On the basis of the analysis, the author examines the reflection of the typological features of foolishness in the work of Lev Ehrenburg: belonging to the purl world, the marginality of heroes, the search for a lost paradise, the desire to overcome the boundaries of one’s own “I”. The author indicates the possibilities for further in-depth study of the issue, in which the aesthetic paradigm of foolishness can be considered in connection with the concept of total theatricality of Nikolai Evreinov, the performative turn in modern theater, as well as in other director’s concepts (N. Kolyada, A. Artemov, K. Bogomolov, A. Adasinsky).
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Baiguzina, Elena N., and Elizaveta M. Kolodina. "The Sources for Reconstruction of Piotr Lambin’s Artistic Biography." Contemporary Musicology, no. 3 (2023): 82–106. http://dx.doi.org/10.56620/2587-9731-2023-3-082-106.
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The present article is devoted to analysis of the sources for the reconstruction of the artistic biography of the S. Petersburg-based theater artist Piotr Brisovich Lambin (1862–1923). The research makes use of methods of reconstruction, the biographical and the iconographic method, as well as the method of artistic-stylistic analysis. On the basis of the archival documents of the RGIA (Russian State Historical Archive) the main landmarks of Lambin’s life and artistic activities have been revealed: information about his parents, his christening, his education and academic progress at the Academy for the Arts, his promotion up the career ladder to the position of decorator of the Imperial Theaters during the period from 1885 to 1919, his state awards, his material and family positions. The reference edition “Ves’ Peterburg” [“All of St. Petersburg”] (1895–1916) has made it possible to ascertain the addresses of Lambin’s residences and to reveal that they were situated at close proximity to the Mariinsky Theater. The study of the graphic sources (over 500 sketches by the artist) from various museum funds has made it possible to assemble a list of theatrical productions (of which there are presently 141) on which the master hand worked. An analysis of the sketches makes it possible to come up with the conclusion that Lambin, while being a continuer of the official romantic-academic tradition on the stages of the Imperial theaters, had a responsive approach to the influences of his time, absorbing alternative stylistic tendencies (the Symbolist, the Impressionist, the World of Art trend) which it was not possible to manifest in full measure on the mainstream theatrical stage. The article illuminates for the first time the main landmarks of the paths of life and art of Piotr Lambin, whose legacy has not become an object of academic interest up to the present time. Lambin, undoubtedly, was not in the vanguard of the artistic processes, he pertained to the artists of the “second echelon” without whom the work of the Imperial theaters of the late 19th and the early 20th centuries would be unthinkable.
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Mankov, Andrey V. "ACTIVITIES CARRIED OUT BY THE CAST OF LENINGRAD OPERA AND BALLET THEATER NAMED AFTER S.M. KIROV IN THE FIRST HALF OF 1941." Historical Search 2, no. 2 (June 25, 2021): 21–29. http://dx.doi.org/10.47026/2712-9454-2021-2-2-21-29.
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The relevance of the research topic is due to the fact that 80 years ago – on June 22, 1941, the Great Patriotic War of the Soviet people began. In the second half of 1941, millions of Soviet people unexpectedly became defenders of the Fatherland: commanders and political workers of the Red Army, ordinary Red Army soldiers and Red Navy men, partisans and members of the underground, some of them were captured and turned into prisoners of nazi concentration camps. The author focuses on the most interesting episodes from the creative and social life of the world-famous Leningrad State AcademicOpera and Ballet Theater named after S.M. Kirov (GATOB) and its artists. How did they meet the beginning of the war? What happened in the theater in the pre-war months of 1941, as well as in the first hours and days of the war? What was the theater’s repertoire in 1941? In his work, the author primarily uses the materials of a number of issues of the theater newspaper «For the Soviet Art», published in January – September 1941 in Leningrad and stored in our time in the funds of St. Petersburg State Theater Library, for the first time introducing them into scientific circulation. He tells about the details of the theater’s creative activity, which today are of undoubted interest to all amateurs of the Russian culture. It is concluded that the outbreak of the war made significant adjustments to the repertoire of the on-stage performance group, radically changed the entire life of Leningrad State Academic Opera and Ballet Theater. It is particularly emphasized that the last pre-war opera premiere of the great theater on the stage in Leningrad was the performance to the music of the German composer R. Wagner «Lohengrin». In those years, Wagner was considered in Germany one of the symbols of the «Aryan culture» of the Third Reich. Today, the author believes, it can be supposed that staging of the German «Lohengrin» in Soviet Leningrad in June 1941 had a political nature, and the decision to work on the performance was made at the highest state level.
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Kulishova, Oksana. "Traditions and Interpretations of the Ancient Theater in Post-Revolutionary Petrograd." ISTORIYA 14, no. 2 (124) (2023): 0. http://dx.doi.org/10.18254/s207987840024511-1.
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The attention to the ancient drama characterized European culture at the turn of the 19—20th centuries was reflected in Russia in the search for new forms in theatrical art both at the very beginning of the 20th century and after the events of 1917. The author focuses on the most remarkable performances of Sophocles’ Oedipus Rex in 1910s in St. Petersburg/Petrograd at the Ciniselli Circus: in 1911 this Greek tragedy was staged by the famous German director Max Reinhardt, and in 1918 renewed by the famous Russian actor Yury Yuriev. The analysis of the important sources — the memoirs of participants and eyewitnesses of these performances, reviews and various publications in theater magazines, as well as surviving archival materials, etc. — makes it possible to trace the features of the interpretation and reception of this tragedy, which was especially consonant with the turbulent era of world cataclysms and wars.
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Mullan, Kelly Jean. "Forgotten “New” Dancer of New York City's Gilded Age: Genevieve Lee Stebbins and the Dance as Yet Undreamed." Dance Research Journal 52, no. 3 (December 2020): 97–117. http://dx.doi.org/10.1017/s0149767720000327.
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In the Gilded Age, Genevieve Lee Stebbins (1857–1934) became a dance soloist admired in New York City's theater world. Stebbins created a foundation from which a new “serious” dance aesthetic emerged and notably inspired the early dance work of Ruth St. Denis and Isadora Duncan; however, she remains an overlooked figure within American dance history. This article chronicles Stebbins's innovations and clarifies misrepresentations of her work in recent scholarship. Unlike other American dance pioneers, there is no public archive dedicated to Stebbins, therefore this article draws upon newly available primary sources to explore Stebbins's foundational work.
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Kozhukharov, Roman R. "“Miriskusniki” and the genesis of acmeistic searches (about the review of one exhibition)." Philological Sciences. Scientific Essays of Higher Education 2, no. 2 (March 2024): 94–100. http://dx.doi.org/10.20339/phs.2.2-24.094.
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The article presents the experience of comprehension V. Narbut’s publication “Mir Iskusstva” (“The World of Art”) in the St. Petersburg newspaper “Theater and Sport”. The article, dedicated to the exhibition of the same name, is written in the genre of art criticism, unique for the poet’s creative biography, and is perceived as a capacious manifestation of the author’s artistic preferences. The significance of comprehension this publication is due to its chronological correlation not only with the beginning of the poet’s creative path, but also with key events in the history of Russian literature at the beginning of the 20th century.
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Veledinsky, Oleg Valerievich. "Chinese Studios in the Russian Theater University. Ethnopsychological Approach in Teaching Stage Speech." Человек и культура, no. 5 (May 2022): 18–34. http://dx.doi.org/10.25136/2409-8744.2022.5.38935.
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The relevant topic of teaching foreign-speaking students in the field of modern Russian theater education is discussed. The subject of the research is the speech training of Chinese students-actors within the framework of an experimental Russian–Chinese theater and educational project of the Russian State Institute of Performing Arts (St. Petersburg) and the Central Academy of Drama (Beijing). The experience of voice and speech training in homogeneous Chinese groups is summarized, the real manifestations of significant ethnopsychological phenomena and the possibility of their use for educational purposes are generalized. The author, a direct participant in the project, analyzes the course and results of the experiment from the position of optimal compliance of the educational process with the identified psychological, mental and national-cultural characteristics of Chinese students-actors. The novelty of the research lies in the experimental substantiation of the variant of the ethnooriented model of voice and speech training of Chinese students in the Russian theater school, carried out using two languages (Russian and Chinese) in Russia, and then in China. This ensures the consistency and meaning of voice and speech education, the possibility of transferring acquired speech skills into national artistic practice. The result of the study ethnopsychological, mental and national-cultural features were found in practice and affecting the process of voice and speech training. Taking into account and using a combination of these factors implements an ethnopsychological approach to voice and speech training of Chinese students-actors.
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Borghesi, Maria. "Movement in Italian Dramatizations of J. S. Bach's Passions: From the Church to the Theater and Back." BACH: Journal of the Riemenschneider Bach Institute 54, no. 2 (2023): 237–72. http://dx.doi.org/10.1353/bach.2023.a907242.
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Abstract: The dramatization of J. S. Bach's Passions is now an accepted fact among audiences and music critics, but what were the beginnings of this tradition? This article examines the first two stagings of the St. John Passion and the St. Matthew Passion . These appeared in 1984–1985, staged by Pier Luigi Pizzi and Jurij Ljubimov, respectively, in two major Italian theaters (Teatro la Fenice in Venice and Teatro alla Scala in Milan) on the occasion of Bach's 300th anniversary and the European Year of Music. The focus is on the dimension of movement and the interaction among stage space, those involved in the production, and the audience. Using the available materials, I sketch the contours of the performance spaces, define the role of the actors on stage, and attempt to reconstruct their movements in relation to Bach's music and the Gospel narrative. These two case studies are related to other experiences with the dramatization of Bach's Passions in the Italian context by Edward Gordon Craig (1913, 1933), Ferruccio Busoni (1924), and Vittorio Biagi (1974, 1983, 1985). The aim is to identify common issues related to the staging of the Passions, and to clarify the ways in which macroand micro-movements were important for mediating Lutheran works such as the Passions for Catholicism.
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MAINENTE, RENATO AURÉLIO. "O Período Joanino e as transformações no cenário musical no Rio de Janeiro * The Joanino Period and the changes in musical scene in Rio de Janeiro." História e Cultura 2, no. 1 (August 19, 2013): 132. http://dx.doi.org/10.18223/hiscult.v2i1.943.
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<p><strong>Resumo:</strong> Após o desembarque da Corte Portuguesa, em 1808, o Rio de Janeiro assistiu a um significativo desenvolvimento da atividade musical, principalmente por meio da fundação da Capela Real e do Real Teatro São João. A música sacra produzida no período ganhou importância, bem como as apresentações nos palcos do Real Teatro, com a presença de músicos e companhias líricas estrangeiras, possibilitando um contato com a música e óperas de sucesso na Europa. Tais instituições desempenharam, portanto, um importante papel: mais do que um espaço para a apresentação de óperas ou peças musicais, tais espaços funcionaram como um vetor de desenvolvimento para a atividade musical na cidade. Dessa forma, é objetivo deste artigo analisar as principais linhas de desenvolvimento da atividade musical no Rio de Janeiro a partir da fundação da Capela Real, em 1808, e do Real Teatro São João, em 1813.</p><p><strong>Palavras-chave:</strong> Teatro lírico – Música - Rio de Janeiro.</p><p> </p><p><strong>Abstract:</strong> After the landing of the Portuguese court in 1808, Rio de Janeiro witnessed a significant development of musical activity, mainly through the foundation of the Chapel Royal (Capela Real) and the Royal Theatre St. John (Real Teatro São João). The sacred music produced in the period gained importance as well as the presentations on the stage of the Royal Theatre, attended by musicians and lyrical foreign companies, allowing the contact with the music and the operas of success in Europe. Hence, these institutions have played an important role: more than a space for the presentation of operas and musical pieces, such space functioned as a vector of development for musical activity in the city. Therefore, the objective of this paper is to analyze the main lines of the development of musical activity in Rio de Janeiro, from the foundation of the Chapel Royal in 1808 and the Royal Theatre St. John in 1813.</p><p><strong>Keywords:</strong> Lyric theater – Music - Rio de Janeiro.</p>
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Harutyunyan, M. "THE PROBLEM OF STUDYING OF THE CHURCH ARCHITECTURE AND URBAN PLANNING ART OF ARTSAKH OF THE SECOND HALF OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY ON THE PAGES OF THE EASTERN ARMENIAN PERIODICAL PRESS." East European Scientific Journal 1, no. 8(72) (September 14, 2021): 4–11. http://dx.doi.org/10.31618/essa.2782-1994.2021.1.72.110.
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Our scientific research is dedicated to the study of the church architecture and urban art of Artsakh of the second half of the 19th century and the beginning of the 20th century which is based on valuable materials published in the pages of the periodical press of Eastern Armenian. The article shows with undeniable facts that along with other branches of the Armenian culture the architecture and urban planning art developed in Artsakh during the period. Many magnificent architectural monuments, public buildings, printing houses, schools and other cultural centers were built. Previously built architectural monuments continued their activities in that period as well, some of which were renovated in the second half of the 19th century and the beginning of the 20th century.
Among the historical and cultural values Dadivank (Khota Monastery or Charektar Monastery), the monastery of Amaras, the monastery of Gandzasar, the monastery of St. Hakoba, St. George Monastery (in the Khachen province), St. Yeghishe Monastery (in the Javanshir province), St. Ghondeants Monastery (Ghondik - desert, built in Varanda, near the village of Avetaranots), Gtich or Gtchavanq (in the Dizak province, near the village of Togh), Spitak Khach Monastery (in Dizak), Yerits Mankants Monastery, Inn Masants Monastery are known. And among the Armenian cultural centers are the Diocesan School of Shushi, the Realakan College, the Hripsimyan and Girls' Schools of Shushi, the Khandamiryan Theater Building, the Printing Houses of Metropolitan Baghdasar, Mirzajan Mahtesi Hakobyants, Bagrat Ter Sahakyan, Melkon Babajanyan, etc..
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Harutyunyan, M. "THE PROBLEM OF STUDYING OF THE CHURCH ARCHITECTURE AND URBAN PLANNING ART OF ARTSAKH OF THE SECOND HALF OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY ON THE PAGES OF THE EASTERN ARMENIAN PERIODICAL PRESS." East European Scientific Journal 1, no. 8(72) (September 14, 2021): 4–11. http://dx.doi.org/10.31618/essa.2782-1994.2021.1.72.110.
Full textAbstract:
Our scientific research is dedicated to the study of the church architecture and urban art of Artsakh of the second half of the 19th century and the beginning of the 20th century which is based on valuable materials published in the pages of the periodical press of Eastern Armenian. The article shows with undeniable facts that along with other branches of the Armenian culture the architecture and urban planning art developed in Artsakh during the period. Many magnificent architectural monuments, public buildings, printing houses, schools and other cultural centers were built. Previously built architectural monuments continued their activities in that period as well, some of which were renovated in the second half of the 19th century and the beginning of the 20th century.
Among the historical and cultural values Dadivank (Khota Monastery or Charektar Monastery), the monastery of Amaras, the monastery of Gandzasar, the monastery of St. Hakoba, St. George Monastery (in the Khachen province), St. Yeghishe Monastery (in the Javanshir province), St. Ghondeants Monastery (Ghondik - desert, built in Varanda, near the village of Avetaranots), Gtich or Gtchavanq (in the Dizak province, near the village of Togh), Spitak Khach Monastery (in Dizak), Yerits Mankants Monastery, Inn Masants Monastery are known. And among the Armenian cultural centers are the Diocesan School of Shushi, the Realakan College, the Hripsimyan and Girls' Schools of Shushi, the Khandamiryan Theater Building, the Printing Houses of Metropolitan Baghdasar, Mirzajan Mahtesi Hakobyants, Bagrat Ter Sahakyan, Melkon Babajanyan, etc..
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Artemova, Ekaterina Z. "RECEPTION OF MAX DREYER’S DRAMA IN THE RUSSIAN CULTURE IN THE EARLY 20TH CENTURY (1900-1914)." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 123–37. http://dx.doi.org/10.28995/2686-7249-2022-7-123-137.
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The article deals with the socio-cultural peculiarities of the perception of the German writer Max Dreyer in Russia in the beginning of the 20th century. The research focuses on the theatrical discourse in the magazines and newspapers of Moscow and St. Petersburg. The study showed that the author, little known today, enjoyed wide popularity in Russia at the beginning of the 20th century. His plays were performed in many theaters, both in the capital and in regions. A quick and lively response to foreign theatrical novelties and their transfer to the Russian stage was a general cultural trend of the era. This is the era of the rise of public interest in the theater and in contemporary Russian and Western drama novelties. The vector of socio-cultural development is what predetermined the demand for the German playwright in Russia. In Germany Dreyer’s most popular play was “The Trial Candidate”, in Russia, “The Seventeen Year Olds”. One of the most important factors in its success was that Dreyer’s work fell in line with major trends and preferences in the theatrical repertoire. His interest in the question of women, the problems of contradiction between dream and reality, the theme of a pure soul suffering from lies and social conventions was common