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

✍ Scribed by J. A. E. Curtis (editor)

Publisher: Bloomsbury Academic
Year: 2020
Tongue: English
Leaves: 297
Category: Library

No coin nor oath required. For personal study only.

✦ Synopsis

In New Drama in Russian, Julie Curtis brings together an international team of leading scholars and practitioners to analyze the role of New Drama in the post-Soviet era. Since the fall of the Soviet Union in 1991, theatres, dramatists, and critics have used the genre as a lens through which to explore a wide topics from human rights and crime to sexuality and racism. Through providing analytical surveys of the transnational and outspoken genre alongside case-studies of plays and interviews with playwrights, this volume sheds much-needed light on the key issues of performance, politics, and protest in the post-Soviet world.

✦ Table of Contents

Cover page
Halftitle page
Library of Modern Russia
Title page
Copyright page
Contents
Contributors
Acknowledgements
A note on transliteration
Introduction Recent developments in Russian, Ukrainian and Belarusian drama
Russia
Ukraine
Belarus
Notes
Part I Russia
1 The story of Russian-language drama since 2000 PostDoc, the postdramatic and Teatr Post
The origins of ‘New Drama’
Teatr.doc and others
The manifesto of Teatr.doc and its consequences
Debates around the ‘postdramatic’
Konstantin Bogomolov’s writing for the stage
The outsiders of Teatr Post: Dmitrii Volkostrelovand Pavel Priazhko
Experimentation under threat
Notes
2 Giving testimony in the face of an authoritarian regime
Notes
3 From Stalinist Socialist Realism to Putinist Capitalist Realism
Cultural policy in Russia during the 2010s
Policy in practice: the case of Kirill Serebrennikov and the theatre
Conclusion
Notes
Bibliography
4 Conversation with Mikhail Durnenkov and Maria Kroupnik (Liubimovka Festival, Moscow, September 2017)
Note
5 ‘Class Act’ in Russia and Ukraine
‘Class Act’: historical overview
Structure and Organization: ‘Class Act’ in Scotland
The aims, values and creative practices of ‘Class Act’ in Scotland and abroad
Notes
6 Conversation with Sasha Denisova (Moscow, October 2013)
7 Conversation with Ivan Vyrypaev (Moscow, May 2013)
Note
8 Absence on Stage in Ivan Vyrypaev’s July
Notes
Bibliography
Part II Ukraine
9 The watershed year of 2014
Ukrainian theatre in the 1990s
Ukrainian drama between the Orange Revolution and the Maidan
The impact of the Maidan and Russian military expansionism on theatrical production
The birth of a post-Maidan fringe
‘Ukrainian New Drama’
Conclusion
Acknowledgements
Notes
Bibliography
10 The playwright overlooked
Olena Apchel and ‘decolonizing the actor’
Teatr Lesi
Bad Roads
Moscow’s Teatr.doc tour to PostPlay Theatre, November 2018
Ukrainian independent theatre
‘Zaporizhzhian New Drama’
11 A new ‘dawn’ in Ukrainian theatre
Note
12 Stages of change
Notes
Bibliography
13 ‘Ne skvernoslov’, otets moy’ [‘Curse not, my son’]
Anna Iablonskaia and transnational contexts
Staging obscenities: The Pagans and the 2014 profanity ban
Language, religion and authenticity
Conclusion
Notes
14 Natal’ia Vorozhbyt’s Viy
The cellar scene: locating the Ukrainian subject
The interrogation scene: autoethnographic storytelling
Lukas’s return home: intercultural acts of kindness
Viy in production
Conclusion
Notes
Bibliography
Part III Belarus
15 The transformation of the language of ‘New Drama’ in Belarus, as a reflection of a new model of identity
‘New Drama’ in Belarus: the early 2000s
Historical context: language as a political field
Representation as a way to produce meanings
Notes
Bibliography
16 Conversation with Natalia Koliada, Belarus Free Th eatre (London, March 2019)
Notes
17 Pavel Priazhko: the Text as an Instant Photograph (2012); Conversation with Pavel Priazhko (2011); Essay on Pavel Priazhko’s Methods
Extracts from lecture ‘Pavel Priazhko: the Text as an Instant Photograph’, Minsk, 2 June 2012
Tania Arcimovich: Conversation with Pavel Priazhko (2011)
Essay on Pavel Priazhko’s methods
Notes
18 The artistic space shared by Eastern Slavs, and the ways in which that is created
Notes
Conclusion Summer of 2019
Russia
Ukraine
Belarus
Notes
Recommended reading
Index

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