ON THE COMIC AND COMEDY IN SERGEY AFANASSYEV’S PERFOMANCES ON THE PLAYS BY IVAN VYRYPAEV
UDC index:
792.2
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Information about authors: Glembotskaya Yana Olegovna, PhD in Philology, Rector of Novosibirsk State Theatre Institute (Novosibirsk, Russian Federation). E-mail: 79132006124@yandex.ru
Annotation: The article presents the analysis of the performances on Ivan Vyrypaev’s plays directed by Sergey Afanasyev. Afanasyev had staged three plays by Vyrypayev in the period from 2010 up to 2016 in Novosibirsk City Drama Theatre. “Delhi Dance,” “Illusions” and “Dreamworks” were interpreted by the director as comedies developing the ironic potential of the plays. So called “the newest drama” of the post Soviet period was fixated on the situation of values collapse in the society and thus was focused on the “lower depths” of the social strata. Vyrypaev has chosen another way to overcome the social depression of his generation of playwrights: he created highly sophisticated narratives featuring “Western Life.” But all the foreign names and upper middle class professions are only actors’ masks making ironic effects. The three works by Vyrypaev interpreted by Afanasyev are discussed as the continuation of the “comedy profile” of the theatre. The analysis is theoretically based on the difference between the notions “the comic” and “the comedy” developed in the research on drama theory by professor from Tomsk Valentina Golovchiner. The performance aesthetics is considered as the interlacing of all the layers of stage versions of the plays: from sets and costumes to the way of actors’ self-presentation. The analysis leads to the conclusion that the usage of comic and comedy techniques in all the three performances differs from tragic counterpoint in “Delhi Dance” to the theatre of mask in “Illusions” and finally goes further to the tricks of TV shows and youth sitcoms in “Dreamwoks.” The comic and comedy are conceptualized as the way to overcome the problem of “under-substances” as it is described in the article by professor Kuznetsov in his research devoted to the new writing in Russia at the end of the 20th and beginning of the 21st centuries.
Keywords: performing arts, Novosibirsk City Drama Theatre, director’s analysis, dramas written by Ivan Vyrypayev, analysis of performances, carnival laughter culture, the comic versus the comedy.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Glembotskaya Yana Olegovna, PhD in Philology, Rector of Novosibirsk State Theatre Institute (Novosibirsk, Russian Federation). E-mail: 79132006124@yandex.ru
Annotation: The article presents the analysis of the performances on Ivan Vyrypaev’s plays directed by Sergey Afanasyev. Afanasyev had staged three plays by Vyrypayev in the period from 2010 up to 2016 in Novosibirsk City Drama Theatre. “Delhi Dance,” “Illusions” and “Dreamworks” were interpreted by the director as comedies developing the ironic potential of the plays. So called “the newest drama” of the post Soviet period was fixated on the situation of values collapse in the society and thus was focused on the “lower depths” of the social strata. Vyrypaev has chosen another way to overcome the social depression of his generation of playwrights: he created highly sophisticated narratives featuring “Western Life.” But all the foreign names and upper middle class professions are only actors’ masks making ironic effects. The three works by Vyrypaev interpreted by Afanasyev are discussed as the continuation of the “comedy profile” of the theatre. The analysis is theoretically based on the difference between the notions “the comic” and “the comedy” developed in the research on drama theory by professor from Tomsk Valentina Golovchiner. The performance aesthetics is considered as the interlacing of all the layers of stage versions of the plays: from sets and costumes to the way of actors’ self-presentation. The analysis leads to the conclusion that the usage of comic and comedy techniques in all the three performances differs from tragic counterpoint in “Delhi Dance” to the theatre of mask in “Illusions” and finally goes further to the tricks of TV shows and youth sitcoms in “Dreamwoks.” The comic and comedy are conceptualized as the way to overcome the problem of “under-substances” as it is described in the article by professor Kuznetsov in his research devoted to the new writing in Russia at the end of the 20th and beginning of the 21st centuries.
Keywords: performing arts, Novosibirsk City Drama Theatre, director’s analysis, dramas written by Ivan Vyrypayev, analysis of performances, carnival laughter culture, the comic versus the comedy.
