THE NATURE OF ART IN THEATRE
UDC index:
792.01
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Slesar Evgeniy Aleksandrovich, PhD in Art History, Associate Professor, Associate Professor of Department of Foreign Arts, Russian State Institute of Performing Arts (St. Petersburg, Russian Federation). E-mail: evgeniy.slesar@gmail.com
Annotation: The article is concerned with the essence of art in theatre and focused on comprehension of elements defining theatrical performance as a phenomenon of artistic culture. The criteria assumed by a director as a basis of performance substance are distinguished. Corporeal and artistic aspect of performance, which as a structure becomes artistic utterance when obtaining “limit order” (R. Barthes) is considered. The article is based on Russian and foreign drama, directors’ (V. Meyerhold, E.B. Vakhtangov, G.A. Tovstonogov, etc.) theoretical works and art literature reflecting the present day theatre situation. M. Heidegger (“The Origin of the Work of Art”) and R. Barthes’ ideas of art are featured in the article.The methodology of this research is based on cultural and historical and comparative methods elaborated by the native theatre studies. As a result, the basic elements constituting the nature of art are distinguished, and interrelation between aesthetic and subject and corporeal performance world is determined. Two elements consolidating the art in theatre are considered. The first one is efficient, signifying director’s creative attitude towards the world, where the world is comprehended through the system of actions and counteractions, in the course of which the beautiful opens through the construction of theatrical struggle strategies. The second element of artistic nature is material or objective representing the unique set of means supplying the system of actions and counteractions. This dualistic nature of art in theatre is considered as both, impression itself being in the zone of the personal and corporeal incarnation of director’s intention. The author dwells on interaction between signifier and signified of performance elements, which turn into a sign when entering the relationship codified by director with his/her creative method.
Keywords: theatrical sign, art in theatre, performance elements, objective world of performance
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Slesar Evgeniy Aleksandrovich, PhD in Art History, Associate Professor, Associate Professor of Department of Foreign Arts, Russian State Institute of Performing Arts (St. Petersburg, Russian Federation). E-mail: evgeniy.slesar@gmail.com
Annotation: The article is concerned with the essence of art in theatre and focused on comprehension of elements defining theatrical performance as a phenomenon of artistic culture. The criteria assumed by a director as a basis of performance substance are distinguished. Corporeal and artistic aspect of performance, which as a structure becomes artistic utterance when obtaining “limit order” (R. Barthes) is considered. The article is based on Russian and foreign drama, directors’ (V. Meyerhold, E.B. Vakhtangov, G.A. Tovstonogov, etc.) theoretical works and art literature reflecting the present day theatre situation. M. Heidegger (“The Origin of the Work of Art”) and R. Barthes’ ideas of art are featured in the article.The methodology of this research is based on cultural and historical and comparative methods elaborated by the native theatre studies. As a result, the basic elements constituting the nature of art are distinguished, and interrelation between aesthetic and subject and corporeal performance world is determined. Two elements consolidating the art in theatre are considered. The first one is efficient, signifying director’s creative attitude towards the world, where the world is comprehended through the system of actions and counteractions, in the course of which the beautiful opens through the construction of theatrical struggle strategies. The second element of artistic nature is material or objective representing the unique set of means supplying the system of actions and counteractions. This dualistic nature of art in theatre is considered as both, impression itself being in the zone of the personal and corporeal incarnation of director’s intention. The author dwells on interaction between signifier and signified of performance elements, which turn into a sign when entering the relationship codified by director with his/her creative method.
Keywords: theatrical sign, art in theatre, performance elements, objective world of performance
