Breaking down the barriers between the stage and the auditorium: the realization of the social orientation of the theatrical culture of the XXI century
UDC index:
008
DOI: 10.31773/2078-1768-2024-68-181-190
Article ID in the RSCI:
Article file: Download
Information about authors: Krylov I.A., Associate Professor of the Department of Theater Arts of the Federal State Budgetary Educational Institution of Higher Education "Kemerovo State Institute of Culture" (Kemerovo, Russian Federation) kryloff_ivan@mail.ru
Annotation: The relevance of the article is due to the spread in the second decade of the XXI century in the professional theaters of Kuzbass of creative laboratories of the theater of citizens, which, according to the authors, are a tactical tool in the implementation of ideas: 1) removing barriers between the stage and the auditorium, 2) social orientation towards a real person in everyday life, 3) state cultural policy based on spiritual and moral values. The purpose of the article is to determine the value potential of the creative laboratory "Mom-theater". The article uses the included observation method to consider the stated topic. Domestic and foreign scientific articles, as well as micro-performances of the creative laboratory "Mom-theater" are fundamental materials for the analytical reasoning of the authors. Russian theatrical culture choices directing and creative laboratories as а tool for bringing the viewer and theatrical art professional closer together, as the author of the article argues. According to the author, within the framework of creative laboratories, the communicative ways of interaction between the theater and the public are being improved. It is argued that theater of citizens is a progressive format in which aesthetic, social and cognitive values intersect. The article defines a number of traditional and family values that are effectively broadcast in the micro-performances of the creative laboratory "Mom-theater". The tendency to involve the viewer, as well as his complete fusion with professional actors at the time of creation and direct performance of the theatrical action, is justified. The author makes an assumption about a new stage of self-renewal of the national theatrical culture, which is experiencing sensitivity and dependence on the social and socio-political processes taking place in the country.
Keywords: director's laboratory, creative laboratory, theater of citizens, collective theatrical creativity, values, collectivism, postmodernism, post-drama theater, performative turn, non-dramatic text.
DOI: 10.31773/2078-1768-2024-68-181-190
Article ID in the RSCI:
Article file: Download
Information about authors: Krylov I.A., Associate Professor of the Department of Theater Arts of the Federal State Budgetary Educational Institution of Higher Education "Kemerovo State Institute of Culture" (Kemerovo, Russian Federation) kryloff_ivan@mail.ru
Annotation: The relevance of the article is due to the spread in the second decade of the XXI century in the professional theaters of Kuzbass of creative laboratories of the theater of citizens, which, according to the authors, are a tactical tool in the implementation of ideas: 1) removing barriers between the stage and the auditorium, 2) social orientation towards a real person in everyday life, 3) state cultural policy based on spiritual and moral values. The purpose of the article is to determine the value potential of the creative laboratory "Mom-theater". The article uses the included observation method to consider the stated topic. Domestic and foreign scientific articles, as well as micro-performances of the creative laboratory "Mom-theater" are fundamental materials for the analytical reasoning of the authors. Russian theatrical culture choices directing and creative laboratories as а tool for bringing the viewer and theatrical art professional closer together, as the author of the article argues. According to the author, within the framework of creative laboratories, the communicative ways of interaction between the theater and the public are being improved. It is argued that theater of citizens is a progressive format in which aesthetic, social and cognitive values intersect. The article defines a number of traditional and family values that are effectively broadcast in the micro-performances of the creative laboratory "Mom-theater". The tendency to involve the viewer, as well as his complete fusion with professional actors at the time of creation and direct performance of the theatrical action, is justified. The author makes an assumption about a new stage of self-renewal of the national theatrical culture, which is experiencing sensitivity and dependence on the social and socio-political processes taking place in the country.
Keywords: director's laboratory, creative laboratory, theater of citizens, collective theatrical creativity, values, collectivism, postmodernism, post-drama theater, performative turn, non-dramatic text.
