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Статті в журналах з теми "Russian Puppet theater"
1
Rei, Leino. "Tossed on the seas of Visual Theatre: challenges to Puppetry’s survival as an independent discipline." Móin-Móin - Revista de Estudos sobre Teatro de Formas Animadas 2, no. 25 (December 18, 2021): 240–84. http://dx.doi.org/10.5965/2595034702252021240.
Повний текст джерелаАнотація:
The goal was to understand the current situation and give an overview of Baltic and Nordic countries' puppet theater and puppet theater training traditions and whether and how the puppeteer's profile has changed recently. To get an idea of the trends in this area, the common ground of the different countries, I interviewed theatre makers from Finland, Sweden, Norway, Latvia, Lithuania, and Estonia. The title of this research is "Tossed on the seas of visual theatre: challenges to puppetry’s survival as an independent discipline."To have a wider look at the puppetry, I also did two additional interviews. One of them with Marek Waszkiel - "Puppetry's challenges in the new visual theatre paradigm" and another one with Russian director Yana Tumina - "The puppeteer in the 21st century".
2
Bell, J. "Petrushka: The Russian Carnival Puppet Theater." Theater 23, no. 3 (June 1, 1992): 94. http://dx.doi.org/10.1215/01610775-23-3-94a.
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3
Shevchenko, Elena N. "YOUNG DIRECTING ON THE KAZAN STAGE." Челябинский гуманитарий 66, no. 1 (May 3, 2024): 77–84. http://dx.doi.org/10.47475/1999-5407-2024-66-1-77-84.
Повний текст джерелаАнотація:
The article is devoted to the young generation of directors working on the Kazan stage. These are those who have entered the profession over the past ten years. Among them there are already established masters such as Ilgiz Zainiev, Aidar Zabbarov, Timur Kulov, Ilsur Kazakbayev, a director from Bashkiria who is actively working in Tatarstan. There are also those who are at the very beginning of their career, but have already attracted attention with interesting productions and projects – Lilia Akhmetzyanova, Bulat Gataullin, Bulat Minkin and others. These young artists are successfully implemented in the multicultural environment of Tatarstan. Ilgiz Zainiev heads the Tatar Puppet Theater “Ekiyat”, working with both its Tatar and Russian troupes. His portfolio includes numerous productions in the Tatar drama theaters of Kazan and other cities of the republic: Almetyevsk, Atnya, Menzelinsk, Naberezhnye Chelny, performances in the Kazan Russian Youth Theater and the Naberezhnye Chelny Puppet Theater. Aidar Zabbarov is a director in demand by Russian theaters. In his native republic, he works mainly in the Tatar theaters of Kazan, Almetyevsk, Atnya, while simultaneously being the author of productions at several Russian theater venues. Timur Kulov also successfully cooperates with both Tatar and Russian theaters of the republic. Ilsur Kazakbayev works mainly in national theaters – Bashkir and Tatar. Lilia Akhmetzyanova is the director of the Kazan Russian Youth Theater and at the same time the author of productions at the Kazan Tatar Youth Theater named after G.Kariev and at the venues of the Living City Foundation for the Support of Contemporary Art. These and other directors largely determine the appearance of today’s theatrical Kazan. The purpose of this article is to identify the features of the author’s style of young directors who have especially vividly declared themselves on the Kazan stage, and through the individual try to consider something in common – the qualities inherent in the new generation of directing as such.
4
Erokhina, Tatiyana I. "Who is Happy in Russia?: paradoxes of N. A. Nekrasov's poem in contemporary theater." Verhnevolzhski Philological Bulletin 4, no. 27 (2021): 205–13. http://dx.doi.org/10.20323/2499-9679-2021-4-27-205-213.
Повний текст джерелаАнотація:
The article deals with the specifics in representing the work of N.A. Nekrasov on the theatrical stage. The author notes the lack of demand for the poet's dramaturgy and the attention to the poem Who is Happy in Russia? in the modern theatrical space. Focusing on the cultural codes embedded in N.A. Nekrasov's poem, the author turns to analyzing the paradoxes of the poem's stage version directed by K. Serebrennikov and P. Vasilyev. Based on hermeneutic methodology, semiotic and symbolic analysis, the article highlights the peculiarities of the directors' interpretations. The specifics of Serebrennikov's play lie in its evolution from verbatim forms to conventional theater. While respecting the author's text, the director chooses the key chapters of the poem, whose sequence extends the temporal and spatial boundaries of the text. The play features multi-genre parts that involve experiments with different theatrical forms. P. Vasilyev's puppet show focuses on intertextuality and symbolism in N.A. Nekrasov's poem, expressed through associations and allusions, as well as through the symbolism of puppets and scenography. The paradoxes of the poem's existence on the modern stage are determined by the interpretive potential of the text, its embedded cultural codes, internal drama, incompleteness and open ending. Contemporary Russian theater, gravitating toward experiments and intertextuality, offers a paradoxical interpretation of N. A. Nekrasov's poem, referring the audience both to Russian classics and to mass culture.
5
Vucenovic, A. "ETYMOLOGY OF NAMES AND PHRASEOLOGY IN THE SERBIAN FAIR PUPPET THEATER "KUKU TODOR"." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 90 (2023): 59–67. http://dx.doi.org/10.37313/2413-9645-2023-25-90-59-67.
Повний текст джерелаАнотація:
The Serbian comic hero of folk puppet fair performances "Kuku Todor" has an interesting relationship with the semantics of words and phraseology of the Serbian language. In this work, an attempt is made to deal with the etymology of the name Kuku Todor. Todor is a character whose main characteristics are stupidity and cunning, frivolity and impulsiveness. The author comes to the conclusion that the uniqueness and observance of the tradition of the visual in the performances of this genre also affects the uniqueness of the consequences in the linguistic environment of the people where they appear. "Kuku Todor" is one of the few puppet shows in Serbia, which is interesting, original, uniquely connected with the phraseology of the Serbian language. The name of the protagonist of this performance is based on the holiday “Horse Easter”, and funeral lamentations, and colloquial exclamations, and a parallel with the Russian Fyodor Stratilat. Thus, a peculiar cyclicity arises in the language. The cause becomes the effect, and the effect becomes the cause. The cyclicity in the dramaturgy of this performance, as well as the cyclicity in the mise-en-scene of puppets in a screen-cabin, is also manifested in the language itself. This cyclicality is taken as the principle of constructing the performance. It is taken from the very nature of the relationship between life and death. More precisely, in the course of the ritual sacred rite, among other things, lamentations appeared, which became an integral part of the performance and returned to speech in a new, more common form.
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Zaatov, Ismet A. "Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)." Crimean Historical Review, no. 1 (2020): 100–135. http://dx.doi.org/10.22378/kio.2020.1.100-135.
Повний текст джерелаАнотація:
The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under the leadership of J. Meinov – the efforts of the Crimean Tatar noblewoman-myrzachkas under the leadership of A. Taiganskaya; organization of a professional Simferopol Tatar theater troupe under the People’s Commissar of Education of the Crimean ASSR in 1921 and creation and activities of the Crimean Tatar Drama Theater, headed by A. Taigan, and the Crimean Tatar amateur movement in the Crimea, and among the Crimean Tatar foreign diaspora of 1923–1944 (Soviet pre-deportation period); recreation and current activities of the Crimean Tatar theater in the Crimea,1989 (post deportation period). In this article, for the first time in the art history, is revealed the so-called Khan`s period in the formation of the Crimean Tatar theater, discussed the revolutionary activity in the field of Crimean Tatar art, the ascetic activity of the Crimean Khan Crym Girey I to promote the ideas of European theater traditions and create a classical theater in the Crimea. The picture of the actions undertaken by the Crimean ruler in the construction of theater business in the Crimea, as well as his thoughts and statements about the theater, was recreated according to the text published in the XVIII century, memories of personal meetings and conversations with Crym Girey I of European authors: German – von der Goltz, Polish – Pilshtynova, Russian – Nikiforov, Frenchman – de Tott, Austrian – Kleeman. Based on these recollections is built a clear and explicit picture of a role of Crym Girey I as a pioneer in bringing European theater traditions and creation of a classical theater in the culture of the Crimea, the Turkic and Muslim worlds.
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Алпатов, Сергей Викторович. "The “sympathies of spectators” as a factor in the history of Russian theater." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (November 11, 2019): 71–81. http://dx.doi.org/10.26158/tk.2019.20.3.006.
Повний текст джерелаАнотація:
В настоящей статье рассматривается вопрос о роли зрительских предпочтений в формировании жанрового состава, тематики, образного мира и стиля русского театра Нового времени. Применительно к сфере фольклорного театра XVIII-XIX вв. трудно переоценить роль мемуарных свидетельств в реконструкции социальной среды, пространственно-временного контекста и самого содержания театральных представлений. Вместе с тем личные свидетельства зрителей профессиональных, любительских и собственно народных театральных постановок позволяют выявить и соотнести их идейные, эмоциональные и эстетические предпочтения, влиявшие, в свою очередь, на репертуар, художественную структуру и драматургическую технику активно развивавшегося отечественного театра. На материале «Журнала путешествия Никиты Акинфиевича Демидова 1771-1773 гг.» проводится исследование эстетических вкусов образованного русского путешественника второй половины XVIII в., наблюдавшего широкий спектр немецких, французских, итальянских и английских зрелищных и театральных форм: оперу, драму, театр марионеток, карнавал, цирк, конные бега, военные маневры, религиозные церемонии и др. Несмотря на очевидную склонность к итальянскому оперному и французскому драматическому искусству, Н. А. Демидов с интересом и благожелательно воспринимал повседневные формы английского городского досуга (от концертов на открытом воздухе до цирковых представлений). Зафиксированные в «Журнале путешествия…» театральные интересы и эстетические предпочтения Н. А. Демидова разделяли (в полной мере или отчасти) его спутники по странствиям, его секретарь и редактор травелога Н. И. Крымов, а также многочисленные читатели издания 1786 г., в том числе сын Николай Демидов, внесший существенный вклад в развитие отечественной театральной традиции. This article discusses the role of audience tastes, expectations and preferences in shaping the genre, themes, characters, and style of modern Russian theater. It is difficult to overestimate the role of memoirs in the reconstruction of the social environment, space-time context and the content of performances of folk theater of the 18th - 19th centuries. At the same time, the personal testimony of spectators of professional, amateur and folk theater allows us to identify and compare their ideological, emotional and aesthetic preferences, which in turn had an influence on the repertoire, poetic structure and dramatic technique of the actively evolving national theater. Based on the travel journal of N. A. Demidov (1771-1773) the article analyzes the preferences of this educated Russian traveler that covered a wide range of German, French, Italian and English entertainments and theatrical forms: opera, drama, puppet theater, carnival, circus, horse racing, military maneuvers, religious ceremonies, etc. Apart from his obvious preference for Italian opera and French drama, Demidov also observed everyday forms of urban leisure pursuits (from outdoor concerts to circus performances) with interest and sympathy. Demidov’s theatrical interests and aesthetic preferences were shared (fully or partially) by his traveling companions, his secretary and editor of the travelogue, N. I. Krymov, as well as with numerous readers of the 1786 edition of the travel memoir, including the author’s son Nikolay Demidov, a person of influence in the history of Russian theater.
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Shlykova, Svetlana P. "Genesis of the Archetype of the Trickster in Russian Literature." ICONI, no. 2 (2021): 59–74. http://dx.doi.org/10.33779/2658-4824.2021.2.059-074.
Повний текст джерелаАнотація:
The article is devoted to demonstrating the genesis of the archetype of the trickster in Russian literature. The antihero, the sources of whose anti-behavior are traced in harlequinade and skmorokh buffoonery, is examined on the material of folklore and literary works from the 18th to the early 20th century. Anti-behavior in Russian culture symbolizes a rebellion unrefl exed in the folk environment against the norms of behavior and orderliness of life imposed by those in power. The archetype of the trickster, which has longtime traditions in world culture, was personifi ed in Russia as the skomorokh, then the jester Farnos, who in many ways adopted the skomorokh traditions. Among the populace Petrukha Fornos became one of the favorite comic jester heroes, having acquired special popularity as the result of crude color woodcuts from the 18th century. In the 19th century the image of Farnos was transformed into Petrushka, a puppet character of the theatricalized genre. With his assistance the simplistic satirical subjects lay at the foundation of the so-called Petrushka theater which, despite the unaltered plot, bore an improvisational-play character, pertaining to a number of “baculine” comedies, in the 19th century the image of Petrushka was so popular, that it surpassed the oral folk tradition and found its place in literary compositions. In the early 20th century the image of Petrushka the trickster became the source for numerous interpretations in modernist literature.
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VANYUKOVA, Darya. "2022 Expedition to Mali." Oriental Courier, no. 1 (2022): 86. http://dx.doi.org/10.18254/s268684310021414-3.
Повний текст джерелаАнотація:
The 2022 field season (January 23 – February 23) turned out to be very productive: we managed to clarify the history of Dogon migrations from the Mande Country to the Bandiagara Highlands. We received quite complete information on the prophet Abirɛ, who predicted the return of Dogon to their historical homeland and completely new information about Bozo and Bambara puppets. Finally, we acquired many interesting artifacts for the State Museum of Oriental Arts. Due to the inability to arrive to the Dogon Country, it was decided to focus on the area of the city of Bougouni (Sikasso region) in southern Mali and on the Mande Country (regions of Koulikoro and Kayes, from the city of Kangaba in the west to Bamako in the east). Two magnificent, beautifully attributed works of traditional Bambara art were acquired in Bougouni for the collection of the State Museum of Oriental Arts: “Monkey” (Warabilen) and “Wild buffalo” (Sigi; Sigifin) masks. During the expedition, new and very significant data were obtained on the migrations of the Dogon from the Mande Country to the Bandiagara Highlands. A lot of information has now been accumulated regarding how the Dogon came to their new homeland. They were published, including in Russian. But the Manding oral traditions about the exodus of Dogon are still little known. We have partially succeeded in making up for this shortcoming. Oral historical traditions about the exodus of the Dogon from the Mande Country are changeable, internally contradictory and extremely unstable narratives with confused chronology, filled with omissions and vague allusions. However, some conclusions can still be drawn: there is almost no doubt that the root cause of the Dogon leaving for the lifeless rocks of Bandiagara was some kind of difficult and bloody conflict, accompanied by numerous victims. It is also clear that there were several waves of resettlement, and the last Dogon left for the highlands in the middle of the second half of the 19th century. It was also possible to find out that the Bambara and Bozo puppets are not at all a secularized popular theater. The puppet society is associated with the Koré secret society, and is perhaps one of the most powerful Bambara societies, which in this case refers to three ethnic groups: the Bambara proper, the Bozo (Dogon partners in a marriage-prohibitive joking relations) and the Marka (Soninké). Ceremonies involving puppets are completely sacred (only members of the Society take part in them), semi-sacred (only men take part in them), and, finally, publicly available — everyone, including women and children, takes part in them.
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Bogatyrev, Pyotr. "Czech Puppet Theatre and Russian Folk Theatre." TDR/The Drama Review 43, no. 3 (September 1999): 97–114. http://dx.doi.org/10.1162/105420499760347351.
Повний текст джерелаАнотація:
This key historical and theoretical document connecting Czech and Russian puppet and folk theatres is translated into English for the first time. Bogatyrev opened a whole new area of semiotic studies.
Книги з теми "Russian Puppet theater"
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Perett︠s︡, V. N. Kukolʹnyĭ teatr na Rusi: Istoricheskiĭ ocherk. Moskva: I︠U︡raĭt, 2020.
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2
Goldovskiĭ, Boris. Chronik des Puppentheaters in Russland im 15.-18. Jh. =: The chronicles of the puppet theatre in Russia in the 15-18 centuries. Moscau: Nina Gallery, 1994.
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3
Ilbon munhŏn sok ŭi Yi Sun-sin p'yosang: The image of Yi Sun-sin in Japanese literature. Sŏul: Minsogwŏn, 2022.
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4
Kelly, Catriona. Petrushka: The Russian Carnival Puppet Theatre. Cambridge University Press, 2009.
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5
Petrushka: The Russian carnival puppet theatre. Cambridge: Cambridge University Press, 1990.
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6
Marionette theater of the Symbolist era. Lewiston [N.Y.]: Edwin Mellen Press, 2002.
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7
Nina Gernet--chelovek i skazochnik. Sankt-Peterburg: Baltiĭskie sezony, 2007.
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8
Evans, Cornelia, and Vladimir Shpitalnik. Sasha And Babushka: A Story Of Russia (Make Friends Around the World). Soundprints Corp Audio, 2006.
Знайти повний текст джерелаЧастини книг з теми "Russian Puppet theater"
1
Kelly, Catriona. "Petrushka and the Pioneers: The Russian Carnival Puppet Theatre after the Revolution." In Discontinuous Discourses in Modern Russian Literature, 73–111. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19849-8_5.
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2
Shakhmatova, Elena V. "O. Wilde’s Dramaturgy on the Stage of Moscow Theaters of the Post-Soviet Period (1990–2020)." In O. Wilde and Russia: The Issues of Poetics and Reception, 298–332. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0711-3-298-332.
Повний текст джерелаАнотація:
The article is the first to recreate the history of stage performances of O. Wilde’s works on the stage of Moscow theaters in the post-Soviet period over three decades (1990–2020). In the first decade, the appeal to Wilde was associated with the de-ideologization of society and the desire for aestheticism and eroticism. The most popular work of this period was “Salome”. Among the five performances by A. Sigalova, K. Strezhnev, S. Voskresenskaya, D. Bryantsev and R. Viktyuk, the performance of the “Roman Viktyuk theater” has got a long stage life. One may consider as the main result of the second decade (2000–2010) the entry into an independent creative life of A. Vasiliev’s students, who were brought up on the texts of O. Wilde and applied the method of the master’s game structures in practice. Two “Salomes”: that by V. Ageev at the “Modern Theater” and another by I. Yatsko at the “School of Dramatic Art” marked a new stage in mastering the complex aesthetics of Wilde. The results of the third decade of interaction of the Moscow scene with the works of Wilde are strikingly fruitful. If in the first and second decades there were no more than ten productions, then over the past ten years there have been more than thirty. The leader in popularity can be considered “The Canterville Ghost”, which is shown on the stages of both drama and puppet theaters (6). The brilliant comedy “The Importance of Being Earnest” (4) is still in demand. Very interesting versions of the novel “Dorian Gray” (4) have emerged. “The Ideal Husband” was staged three times, and K. Bogomolov’s performance at the “Moscow Art Theater” became not only theatrical, but also a public event of the 2013 season.