Teatr i vremja:
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | Russian |
| Veröffentlicht: |
Kišinëv
2006
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., russ. - Zsfassung in engl. Sprache u.d.T.: The theatre and the times |
| Beschreibung: | 269 S. Ill. |
| ISBN: | 9789975956192 |
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CONTENTS
Author s Preface
Introduction
Part
Prehistoric Epoch
Ancient Epoch
The Middle Ages
Renaissance
Age of Enlightenment
The Epoch of World Wars and Revolutions
Constantine
Vsevolod
Constantine
of new performance expressiveness forms
Yevgeniy Vakhtangov, the follower of
and adherent of Vsevolod
Alexander Tairov. The confrontation to Vsevolod
Yevgeniy Vakhtangov and
Plasticity Forming of the Soviet Theatre (from late 20 s to late 40 s)
Postmodernism Epoch
Part
theatrical performances plastics
Victor Gherlac
Childhood. Youth. The Years of Studies
Creative Beginnings
Consolidation of Ideals and Contradictions of Creative Efforts..
Plastic Embodiment of Great Drama Works
Petru
Childhood. Youth. The Years of Studies
Petru Vutcarau,
The Theatre Named after E.
The Classics and the Fragmentary Theatre
And Over Again Like in the Beginning...New search of performance plastics
Conclusions
264
S-
THE THEATRE AND THE TIMES
The Introduction gives the analysis of the works, well known by now, which consider
the issues of the plastics of theatrical performances and acting. The comparison of
various approaches to the investigation of the diversity of aesthetic trends made it
possible to make up a theatrical performance plastics scheme indicating its main com¬
ponents and their relations.
An art director-demiurge, basing on the performance plastics text, in one case with
the predomination of word, in the second case with predomination of music and chore¬
ography, in the third case with their combination on equal terms, with the improvisation
available or missing, appoints the performers who, by means of a costume, gesture,
mimicry, pantomime, with or without a mask and a dance, create a visible plastic image
of the performance character. The embodiment of the image is mainly determined by
the stage platform area, sceneography,
spectators space, the historical period of the play staging and the epoch it was born in.
In chapter dealing with Prehistoric Epoch, as a result of the analysis of the pre¬
sented material, the author shows that in the epoch of tribal order, when the collecti¬
vism of family relations was applied to perceive the whole world, the surrounding na¬
ture as a unique and universal tribal community, when the unity of
htonic, i.e. matriarchal, mythology gave birth to the syncretism of primordial creative
art, the dominant role was given to the gesture, pantomime and dance. They joined and
subordinated music, singing, word, mask, fine art. With this in view, the special role of
the dance was determined by its unique possibility to reflect the collective unconscious¬
ness and create a powerful emotional impact on both the performers and the specta¬
tors. The dynamic energy, the changing liveliness of the dance plastic intonation were
the best way to convey the changing spirit of the epoch.
The transfer from the appropriative methods of management to those of producing,
marking the Neolithic revolution, maybe the greatest in the history of mankind, lead to
the re-thinking of such fundamental notions, as birth, growth, death, afterlife, and ac¬
cordingly, to the modification of theatrical performance plastics.
In the chapter dealing with the Ancient Epoch one can trace the development and
modification of the performance plastics in the various periods of Antique theatre, the
significance of the text in the syncretism of the performance: verbal, musical and cho¬
reographic, the principles of the actor s performance, gesture, mask, mimicry, panto¬
mime, costume, improvisation, stage and spectators space reflecting the contiguity of
theatrical performances with the worship to Dionysus, preserving the profound ties with
the source of the universe.
The Middle Ages chapter considers the formation prerequisites of a new bourgeois
urban theatre of the Renaissance, using as an example the medieval miracle-play
theatre culmination point, becoming the last stage in the development of the religious
drama, absorbing the various kinds of semi-secular medieval theatre.
Щ
In the chapter dedicated to Renaissance, new kinds of theatrical performances syn¬
cretism are displayed. In their plastics, incorporating the text (verbal, musical and cho¬
reographic), the art of performance, based on the specific notion of the gesture, mim¬
icry, pantomime, dance, spiritual and emotional powers of a person were revealed,
achieving the utmost emotional exertion.
The performance spatial plastics, both that of the stage and the audience, reflected
mankind s perception of the cosmic space and the surrounding nature, still subcon¬
sciously preserving the self-feeling as part of the universe, but already getting to the
realization through the prism of antique gods resembling a human being, through the
painful search of the divine truth in the Middle Ages. The Renaissance mankind s fit to
oneself, the creator of the own destiny, the master of the universe.
The chapter, dealing with the Age of Enlightenment, reads about the period when
France was put forward as the leader of the European theatre, P.-A.
creative activity was considered the top of the dramatic art, preparing the theatre for
the
romantic performances, new plastic features of theatrical performance staging became
apparent. The actors started acquiring significant features of romantic performance
manner: the breadth of gestures, conveying the pathetic element of sublime feelings,
the spontaneous splashing out the passionate emotions.
The formation of the frame stage, having been completed by the beginning of the
XIX
marking the lengthy historical period from the theatre of space to the theatre of pre¬
mises. The frame stage and the circled arrangement of the auditorium have once and
for all enclosed both the actors and the audience within the limited space, hiding the
sky and live nature from them. The notion of the space became a thing of the past.
Beaumarchais
plastics, being subordinated to the artistic and social significance of the word, blended
with the stage space of interiors or conventional picturesque landscapes, determined
by the aesthetic tastes of aristocracy and bourgeoisie of the Age of Enlightenment.
Music used as an accompaniment to the pronounced text and the corresponding
conventional plastics of the actors were amplifying the perception of the live pictures of
the performance, where dance was in a subordinate position, together with this syncre¬
tism was leaving the theatrical performance.
In the chapter named the Epoch of World Wars and Revolutions, covering in its real
manifestation or in the reflected light almost the whole century from the 80 s of the
to the 80 s of the XX, the process of new theatrical schools formation can be traced,
where the performance plastics was reflecting pungent social contradictions, bloody
conflicts, emotional shocks, mental and spiritual conditions of millions of people.
Free Theatre, created by
finally subordinated the actors to the playwright and approved the everyday-like plas¬
tics of the actor s expressiveness, supported by maximal credibility of the performance
266_______________________
scene of action, made a significant impact on the creative activity in many countries of
Europe, where the so called small theatres were founded, following the above theatre
type.
scenic theory and the method of training the new generation actors. Not in vain for
K. Stanislavski were the performances by L. Croneg of Mannheim theatre, touring in
Russia from
the large-scale mass scenes accurately formed up, with a noisy crowd actively partici¬
pating in the action development. In the 40 s of
was taken as a novelty in Germany, and although, being already known in the perfor¬
mances by
quiring the name of pavilion. As far as the modified garden decoration is concerned,
the complex combination of ladders, passages, marches and transfers, fallen trees,
hills, canyons, mountain paths, etc., allowed for pictorially planning the mass scenes.
In the section, named
personality of the director is shown in the atmosphere of spiritual and social enthusi¬
asm at the end of
theatre in the people s life influenced by the lofty style of dramatic, fine and musical art,
determining the tireless search of harmony in the plastic embodiment of theatrical per¬
formances. On the eve of the World War I, in the confrontation to the oppressive antici¬
pation of catastrophe,
the plastic variety of the earthly, everyday people s life, in the forms of plastics being
new for him: grotesque, buffoonery, masks used as methods of free improvisation.
Being the adherent of literary
world of a person, the psychological peculiarities, the character by means of the actor s
plastics in the
auditorium and the spectators perception of the performance, reflecting the spiritual
atmosphere of the time,
art development, capturing the life of a separate person and the society in the pungent
struggle of contradictions in Russian and West European life of the first two decades of
the XX century.
In the part, named Vsevolod
tween C. Stanislavski and his genius follower, who made the tragedy of the crisis epoch
of the early XX century the principle and the definitive material of his works /M. Stroyeva/
.
Stanislavski, the truth of life and art were reflected in different essence. The characteris¬
tic features of the plastics of V. Meierhold s performances, such as: Sister Beatrice ,
The Stranger Lady , The Masquerade , The Dawns , The Buff-Mystery , The Gene¬
rous Cuckold , The Profitable Place , The Forest , with all the dissimilarity of the director s
approach, reflecting the time of the performances creation, were remarkable for the
irreproachable correlation of the verbal and musical and choreographic text, realized
by the actors having perfect control over their body, voice, motion in the preset tempo.
(fcs/f
In the section, named
search of new performance expressiveness forms,
K. Stanislavski is considered in which the indirect influence of The Forest by
V.
the perspective of old theatre development in the new epoch .
In the part, named Yevgeniy Vakhtangov, the follower of
and adherent of Vsevolod
mance plastics. In the comparative analysis of the plastics of such stage performances
as
studio, the differences in the ways of penetration into other unfamiliar spheres of hu¬
man life are revealed. While Stanislavski s effort of finding the harmony in the higher
spheres of being turned out to be unsuccessful, whereas Vakhtangov created the per¬
formance of fantastic power of impact on the audience, turning to the very beginnings,
to the primordially syncretic artistic performance, where dance has become a cement¬
ing element, as the highest manifestation of human dynamic and emotional energy.
Considering the plastics of such performances as Eric
author traces their influence on creative effort of other directors , and not just contem¬
poraries.
The section, named Alexander Tairov. The confrontation to Vsevolod
Yevgeniy Vakhtangov and
plastics of such performances of the Chamber theatre, as Sakuntala , Famira-Kifared ,
Salomea , Fedra , in which the innovative use of light for that period, the plasticity of
the stage space, the actors expressiveness and eurhythmies, striking in its beauty,
were used by Tairov in contrast with Meierhold s conventional theatre, Vakhtangov s
fantastic realism and Stanislavski s naturalism . The author shows how through the
arguments and confrontations, occurring among those directors, innovative perfor¬
mances were born, amazing both the Russians and the experienced European audi¬
ence.
In the section Plasticity Forming of the Soviet Theatre (from late 20 s to late 40 s) the
plasticity of the performances by C. Stanislavski, V.
based on the new soviet drama and new interpretations of classic writings, such as:
Armoured Train
Love under the Elms , Day and Night , The Optimistic Tragedy , The Seagull , The
Old Man by Tairov, exerting a direct and indirect impact upon the further development
of the soviet dramatic art, to which Moldovan soviet theatre also belonged, being formed
frcm the 20 s to the 40 s. Victor Gherlac, actor and art director, who succeeded in
reflecting the disposition of the people of Modova in the first postwar decades with the
greatest authenticity, was among its most talented representatives.
In the chapter, dealing with Postmodernism Epoch, becoming firmly established in
the Western humanitarian conception starting with the 80 s of the last century, its cha¬
racteristic features are considered, being reflected in the performances of the theatre
268_______________________
of absurdity, and all kinds of vanguard plays and performances. In Moldova,
Vutcarau, actor and art director, became an outstanding representative of theatrical
vanguard of late XX early
In the first chapter of the second part of Victor Gherlac monograph the process of
forming of Victor Gherlac s creative personality is presented through his childhood, his
studies in Tiraspol drama studio, Moldovan drama studio of Odessa Music and Theatre
Institute, named after Beethoven, and then in Moscow State Institute of Dramatic Art.
In the part named Creative Beginnings the plasticity of such plays, as Stefan Bitca ,
Haiduci ,
The section, related to Consolidation of Ideals and Contradictions of Creative
Efforts, brings the comparative analysis of the plasticity of drama performances by
V. Gherlac, such as: Under the Chestnuts of Prague , The Kremlin Chimes , Non-
flying Birds , The Mother-in-law with Three Daughters-in-law , The Man and the Wolf ,
For the Sake of the Family Fireplace with the music and drama plays, such as: a new
version of
Danube , The Wonderful
the performance, based on a fairy-tale, Ovidiu , a magnificent and splendid perfor¬
mance, full of music and dances of Trembita operetta. However being different, all
these performances were similar in reflecting the same, close to ordinary people feel¬
ings, behavior, and live details of the surrounding reality.
The part Plastic Embodiment of Great Drama Works considers the plastic realiza¬
tion of such performances, as: The Power of Darkness ,
The second chapter of
of studies in Moscow Higher Drama School, named after B. Shchyukin, the period of
creative personality formation of the future actor and director. Waiting for
play staged during the years of studies is analyzed, as well as the roles, performed by
Vutcarau in graduation performances.
¡
thing is different in Venice , his first performance, produced on the stage of this theatre,
explaining the reasons, leading to the group of Shchyukin School graduates leaving the
Luceafărul
The part, dedicated to The Theatre Named after E.
1991
staged by P. Vutcarau, such as:
King is Dying , putting an end to the first period in the creative activity of
theatre staff, marking the peak in the further search for new ways of theatre develop¬
ment and plastic expressiveness of its performances.
The Classics and the Fragmentary Theatre section presents the analysis of the
classic performances, such as: Chirita in the Province , The Inspector , The Sum-
Щ (Щеатр и бремя
mer
mance of the divided theatre.
And Over again like in the Beginning part brings the analysis of the new approach
to the scenic embodiment of the classical works, such as Wolves and Sheep and the
birth of the performances, innovative in the means of plastic expressiveness, such as:
Chekhov s Machinery , Elizabeth I in E. lonesco s Theatre and St. Andrew Passion ,
based on Chekhov s Ward No.
Theatre, named after A.P.Chekhov.
In the Summary the process of variation of theatrical plastics in motion and in time is
generalized, a comparative analysis of plastics of the performances, staged by Victor
Gherlac and
|
| adam_txt |
ffi çffieamp
CONTENTS
Author's Preface
Introduction
Part
Prehistoric Epoch
Ancient Epoch
The Middle Ages
Renaissance
Age of Enlightenment
The Epoch of World Wars and Revolutions
Constantine
Vsevolod
Constantine
of new performance expressiveness forms
Yevgeniy Vakhtangov, the follower of
and adherent of Vsevolod
Alexander Tairov. The confrontation to Vsevolod
Yevgeniy Vakhtangov and
Plasticity Forming of the Soviet Theatre (from late 20's to late 40's)
Postmodernism Epoch
Part
theatrical performances plastics
Victor Gherlac
Childhood. Youth. The Years of Studies
Creative Beginnings
Consolidation of Ideals and Contradictions of Creative Efforts.
Plastic Embodiment of Great Drama Works
Petru
Childhood. Youth. The Years of Studies
Petru Vutcarau,
The Theatre Named after E.
The Classics and the Fragmentary Theatre
And Over Again Like in the Beginning.New search of performance plastics
Conclusions
264
S-
THE THEATRE AND THE TIMES
The Introduction gives the analysis of the works, well known by now, which consider
the issues of the plastics of theatrical performances and acting. The comparison of
various approaches to the investigation of the diversity of aesthetic trends made it
possible to make up a theatrical performance plastics scheme indicating its main com¬
ponents and their relations.
An art director-demiurge, basing on the performance plastics text, in one case with
the predomination of word, in the second case with predomination of music and chore¬
ography, in the third case with their combination on equal terms, with the improvisation
available or missing, appoints the performers who, by means of a costume, gesture,
mimicry, pantomime, with or without a mask and a dance, create a visible plastic image
of the performance character. The embodiment of the image is mainly determined by
the stage platform area, sceneography,
spectators' space, the historical period of the play staging and the epoch it was born in.
In chapter dealing with Prehistoric Epoch, as a result of the analysis of the pre¬
sented material, the author shows that in the epoch of tribal order, when the collecti¬
vism of family relations was applied to perceive the whole world, the surrounding na¬
ture as a unique and universal tribal community, when the unity of
htonic, i.e. matriarchal, mythology gave birth to the syncretism of primordial creative
art, the dominant role was given to the gesture, pantomime and dance. They joined and
subordinated music, singing, word, mask, fine art. With this in view, the special role of
the dance was determined by its unique possibility to reflect the collective unconscious¬
ness and create a powerful emotional impact on both the performers and the specta¬
tors. The dynamic energy, the changing liveliness of the dance plastic intonation were
the best way to convey the changing spirit of the epoch.
The transfer from the appropriative methods of management to those of producing,
marking the Neolithic revolution, maybe the greatest in the history of mankind, lead to
the re-thinking of such fundamental notions, as birth, growth, death, afterlife, and ac¬
cordingly, to the modification of theatrical performance plastics.
In the chapter dealing with the Ancient Epoch one can trace the development and
modification of the performance plastics in the various periods of Antique theatre, the
significance of the text in the syncretism of the performance: verbal, musical and cho¬
reographic, the principles of the actor's performance, gesture, mask, mimicry, panto¬
mime, costume, improvisation, stage and spectators' space reflecting the contiguity of
theatrical performances with the worship to Dionysus, preserving the profound ties with
the source of the universe.
The Middle Ages chapter considers the formation prerequisites of a new bourgeois
urban theatre of the Renaissance, using as an example the medieval miracle-play
theatre culmination point, becoming the last stage in the development of the religious
drama, absorbing the various kinds of semi-secular medieval theatre.
Щ
In the chapter dedicated to Renaissance, new kinds of theatrical performances syn¬
cretism are displayed. In their plastics, incorporating the text (verbal, musical and cho¬
reographic), the art of performance, based on the specific notion of the gesture, mim¬
icry, pantomime, dance, spiritual and emotional powers of a person were revealed,
achieving the utmost emotional exertion.
The performance spatial plastics, both that of the stage and the audience, reflected
mankind's perception of the cosmic space and the surrounding nature, still subcon¬
sciously preserving the self-feeling as part of the universe, but already getting to the
realization through the prism of antique gods resembling a human being, through the
painful search of the divine truth in the Middle Ages. The Renaissance mankind's fit to
oneself, the creator of the own destiny, the master of the universe.
The chapter, dealing with the Age of Enlightenment, reads about the period when
France was put forward as the leader of the European theatre, P.-A.
creative activity was considered the top of the dramatic art, preparing the theatre for
the
romantic performances, new plastic features of theatrical performance staging became
apparent. The actors started acquiring significant features of romantic performance
manner: the breadth of gestures, conveying the pathetic element of sublime feelings,
the spontaneous splashing out the passionate emotions.
The formation of the frame stage, having been completed by the beginning of the
XIX
marking the lengthy historical period from the theatre of space to the theatre of pre¬
mises. The frame stage and the circled arrangement of the auditorium have once and
for all enclosed both the actors and the audience within the limited space, hiding the
sky and live nature from them. The notion of the space became a thing of the past.
Beaumarchais'
plastics, being subordinated to the artistic and social significance of the word, blended
with the stage space of interiors or conventional picturesque landscapes, determined
by the aesthetic tastes of aristocracy and bourgeoisie of the Age of Enlightenment.
Music used as an accompaniment to the pronounced text and the corresponding
conventional plastics of the actors were amplifying the perception of the live pictures of
the performance, where dance was in a subordinate position, together with this syncre¬
tism was leaving the theatrical performance.
In the chapter named the Epoch of World Wars and Revolutions, covering in its real
manifestation or in the reflected light almost the whole century from the 80's of the
to the 80's of the XX, the process of new theatrical schools formation can be traced,
where the performance plastics was reflecting pungent social contradictions, bloody
conflicts, emotional shocks, mental and spiritual conditions of millions of people.
Free Theatre, created by
finally subordinated the actors to the playwright and approved the everyday-like plas¬
tics of the actor's expressiveness, supported by maximal credibility of the performance
266_
scene of action, made a significant impact on the creative activity in many countries of
Europe, where the so called small theatres were founded, following the above theatre
type.
scenic theory and the method of training the new generation actors. Not in vain for
K. Stanislavski were the performances by L. Croneg of Mannheim theatre, touring in
Russia from
the large-scale mass scenes accurately formed up, with a noisy crowd actively partici¬
pating in the action development. In the 40's of
was taken as a novelty in Germany, and although, being already known in the perfor¬
mances by
quiring the name of pavilion. As far as the modified garden decoration is concerned,
the complex combination of ladders, passages, marches and transfers, fallen trees,
hills, canyons, mountain paths, etc., allowed for pictorially planning the mass scenes.
In the section, named
personality of the director is shown in the atmosphere of spiritual and social enthusi¬
asm at the end of
theatre in the people's life influenced by the lofty style of dramatic, fine and musical art,
determining the tireless search of harmony in the plastic embodiment of theatrical per¬
formances. On the eve of the World War I, in the confrontation to the oppressive antici¬
pation of catastrophe,
the plastic variety of the earthly, everyday people's life, in the forms of plastics being
new for him: grotesque, buffoonery, masks used as methods of free improvisation.
Being the adherent of literary
world of a person, the psychological peculiarities, the character by means of the actor's
plastics in the
auditorium and the spectators' perception of the performance, reflecting the spiritual
atmosphere of the time,
art development, capturing the life of a separate person and the society in the pungent
struggle of contradictions in Russian and West European life of the first two decades of
the XX century.
In the part, named Vsevolod
tween C. Stanislavski and his genius follower, who made the tragedy of the crisis epoch
of the early XX century "the principle and the definitive material of his works" /M. Stroyeva/
.
Stanislavski, the truth of life and art were reflected in different essence. The characteris¬
tic features of the plastics of V. Meierhold's performances, such as: "Sister Beatrice",
"The Stranger Lady", "The Masquerade", "The Dawns", "The Buff-Mystery", "The Gene¬
rous Cuckold", "The Profitable Place", "The Forest", with all the dissimilarity of the director's
approach, reflecting the time of the performances creation, were remarkable for the
irreproachable correlation of the verbal and musical and choreographic text, realized
by the actors having perfect control over their body, voice, motion in the preset tempo.
(fcs/f
In the section, named
search of new performance expressiveness forms,
K. Stanislavski is considered in which the indirect influence of "The Forest" by
V.
"the perspective of old theatre development in the new epoch".
In the part, named Yevgeniy Vakhtangov, the follower of
and adherent of Vsevolod
mance plastics. In the comparative analysis of the plastics of such stage performances
as
studio, the differences in the ways of penetration into other unfamiliar spheres of hu¬
man life are revealed. While Stanislavski's effort of finding the harmony in the higher
spheres of being turned out to be unsuccessful, whereas Vakhtangov created the per¬
formance of fantastic power of impact on the audience, turning to the very beginnings,
to the primordially syncretic artistic performance, where dance has become a cement¬
ing element, as the highest manifestation of human dynamic and emotional energy.
Considering the plastics of such performances as "Eric
author traces their influence on creative effort of other directors', and not just contem¬
poraries.
The section, named Alexander Tairov. The confrontation to Vsevolod
Yevgeniy Vakhtangov and
plastics of such performances of the Chamber theatre, as "Sakuntala", "Famira-Kifared",
"Salomea", "Fedra", in which the innovative use of light for that period, the plasticity of
the stage space, the actors' expressiveness and eurhythmies, striking in its beauty,
were used by Tairov in contrast with Meierhold's conventional theatre, Vakhtangov's
"fantastic" realism and Stanislavski's "naturalism". The author shows how through the
arguments and confrontations, occurring among those directors, innovative perfor¬
mances were born, amazing both the Russians and the experienced European audi¬
ence.
In the section Plasticity Forming of the Soviet Theatre (from late 20's to late 40's) the
plasticity of the performances by C. Stanislavski, V.
based on the new soviet drama and new interpretations of classic writings, such as:
"Armoured Train
"Love under the Elms", "Day and Night", "The Optimistic Tragedy", "The Seagull", "The
Old Man" by Tairov, exerting a direct and indirect impact upon the further development
of the soviet dramatic art, to which Moldovan soviet theatre also belonged, being formed
frcm the 20's to the 40's. Victor Gherlac, actor and art director, who succeeded in
reflecting the disposition of the people of Modova in the first postwar decades with the
greatest authenticity, was among its most talented representatives.
In the chapter, dealing with Postmodernism Epoch, becoming firmly established in
the Western humanitarian conception starting with the 80's of the last century, its cha¬
racteristic features are considered, being reflected in the performances of the theatre
268_
of absurdity, and all kinds of vanguard plays and performances. In Moldova,
Vutcarau, actor and art director, became an outstanding representative of theatrical
vanguard of late XX early
In the first chapter of the second part of Victor Gherlac monograph the process of
forming of Victor Gherlac's creative personality is presented through his childhood, his
studies in Tiraspol drama studio, Moldovan drama studio of Odessa Music and Theatre
Institute, named after Beethoven, and then in Moscow State Institute of Dramatic Art.
In the part named Creative Beginnings the plasticity of such plays, as "Stefan Bitca",
"Haiduci",
The section, related to Consolidation of Ideals and Contradictions of Creative
Efforts, brings the comparative analysis of the plasticity of drama performances by
V. Gherlac, such as: "Under the Chestnuts of Prague", "The Kremlin Chimes", "Non-
flying Birds", "The Mother-in-law with Three Daughters-in-law", "The Man and the Wolf',
"For the Sake of the Family Fireplace" with the music and drama plays, such as: a new
version of
Danube", "The Wonderful
the performance, based on a fairy-tale, "Ovidiu", a magnificent and splendid perfor¬
mance, full of music and dances of "Trembita" operetta. However being different, all
these performances were similar in reflecting the same, close to ordinary people feel¬
ings, behavior, and live details of the surrounding reality.
The part Plastic Embodiment of Great Drama Works considers the plastic realiza¬
tion of such performances, as: "The Power of Darkness",
The second chapter of
of studies in Moscow Higher Drama School, named after B. Shchyukin, the period of
creative personality formation of the future actor and director. "Waiting for
play staged during the years of studies is analyzed, as well as the roles, performed by
Vutcarau in graduation performances.
¡
thing is different in Venice", his first performance, produced on the stage of this theatre,
explaining the reasons, leading to the group of Shchyukin School graduates leaving the
Luceafărul
The part, dedicated to "The Theatre Named after E.
1991
staged by P. Vutcarau, such as:
King is Dying", putting an end to the first period in the creative activity of
theatre staff, marking the peak in the further search for new ways of theatre develop¬
ment and plastic expressiveness of its performances.
The Classics and the Fragmentary Theatre section presents the analysis of the
classic performances, such as: "Chirita in the Province", "The Inspector", "The Sum-
Щ (Щеатр и бремя
mer
mance of the divided theatre.
And Over again like in the Beginning part brings the analysis of the new approach
to the scenic embodiment of the classical works, such as "Wolves and Sheep" and the
birth of the performances, innovative in the means of plastic expressiveness, such as:
"Chekhov's Machinery", "Elizabeth I" in E. lonesco's Theatre and "St. Andrew Passion",
based on Chekhov's "Ward No.
Theatre, named after A.P.Chekhov.
In the Summary the process of variation of theatrical plastics in motion and in time is
generalized, a comparative analysis of plastics of the performances, staged by Victor
Gherlac and |
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| author | Coroliov, Elfrida 1935- |
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| ctrlnum | (OCoLC)238831416 (DE-599)BVBBV022411482 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| geographic | Moldawien (DE-588)4039967-9 gnd |
| geographic_facet | Moldawien |
| id | DE-604.BV022411482 |
| illustrated | Illustrated |
| index_date | 2024-07-02T17:22:16Z |
| indexdate | 2024-07-09T20:57:01Z |
| institution | BVB |
| isbn | 9789975956192 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015619970 |
| oclc_num | 238831416 |
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| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 269 S. Ill. |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| record_format | marc |
| spelling | Coroliov, Elfrida 1935- Verfasser (DE-588)1216068097 aut Teatr i vremja Akademija Nauk Respubliki Moldova... Ėlʹfrida Korolëva Kišinëv 2006 269 S. Ill. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., russ. - Zsfassung in engl. Sprache u.d.T.: The theatre and the times Geschichte gnd rswk-swf Theater (DE-588)4059702-7 gnd rswk-swf Moldawien (DE-588)4039967-9 gnd rswk-swf Moldawien (DE-588)4039967-9 g Theater (DE-588)4059702-7 s Geschichte z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015619970&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015619970&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Coroliov, Elfrida 1935- Teatr i vremja Theater (DE-588)4059702-7 gnd |
| subject_GND | (DE-588)4059702-7 (DE-588)4039967-9 |
| title | Teatr i vremja |
| title_auth | Teatr i vremja |
| title_exact_search | Teatr i vremja |
| title_exact_search_txtP | Teatr i vremja |
| title_full | Teatr i vremja Akademija Nauk Respubliki Moldova... Ėlʹfrida Korolëva |
| title_fullStr | Teatr i vremja Akademija Nauk Respubliki Moldova... Ėlʹfrida Korolëva |
| title_full_unstemmed | Teatr i vremja Akademija Nauk Respubliki Moldova... Ėlʹfrida Korolëva |
| title_short | Teatr i vremja |
| title_sort | teatr i vremja |
| topic | Theater (DE-588)4059702-7 gnd |
| topic_facet | Theater Moldawien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015619970&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015619970&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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