LABORATORY THEATRES IN THE USA
UDC index:
УДК 792
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Information about authors: Samitov Dmitriy Gennadyevich, PhD in Sociology, Associate Professor of Department Producing and Management of Performing Arts, Production Faculty, Russian University of Theatre Arts – GITIS (Moscow, Russian Federation). E-mail: goodluck@bk.ru
Annotation: Laboratory theatres are valuable for study as a fundamental element of development in the first stage of the formation of a stationary theater. Drama companies, having developed from small to regional theatres of medium and large forms in different cities of the USA, represent a typical example of such development. The article analyzes the problems of the appearance and existence of a laboratory theatre in the USA. The formation of this creative and organizational phenomenon is associated with the role of the artistic leader, uniqueness of tasks, opposition of the commercial stage, minimal financial means and small forms. The history of various European theatrical groups is compared with the history of “American Laboratory Theater,” “Working Laboratory Theatre,” “Actors’ Laboratory Theatre” and others. The study of their organizational and creative form, repertory policy in the Living Theater (1951), led by J. Beck and J. Malina, identifies the main problem – the inability to achieve an increase in professional creative level in the face of economic instability. The creative and organizational activity of the “Intiman Theatre” in Seattle shows the positive experience of the existence of a non-profit theatre, including the use of a permanent theatre building and the confirmation of its own programme. The study and understanding the problems of laboratory theatres in the United Statesis relevant for modern Russia, because the laboratory period of a theatre is often the first stage to obtain the professional status.
Keywords: laboratory theatre, American Laboratory Theatre, Actors Studio, Living Theater, Actors’ Equity Association, Intiman Theatre
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Samitov Dmitriy Gennadyevich, PhD in Sociology, Associate Professor of Department Producing and Management of Performing Arts, Production Faculty, Russian University of Theatre Arts – GITIS (Moscow, Russian Federation). E-mail: goodluck@bk.ru
Annotation: Laboratory theatres are valuable for study as a fundamental element of development in the first stage of the formation of a stationary theater. Drama companies, having developed from small to regional theatres of medium and large forms in different cities of the USA, represent a typical example of such development. The article analyzes the problems of the appearance and existence of a laboratory theatre in the USA. The formation of this creative and organizational phenomenon is associated with the role of the artistic leader, uniqueness of tasks, opposition of the commercial stage, minimal financial means and small forms. The history of various European theatrical groups is compared with the history of “American Laboratory Theater,” “Working Laboratory Theatre,” “Actors’ Laboratory Theatre” and others. The study of their organizational and creative form, repertory policy in the Living Theater (1951), led by J. Beck and J. Malina, identifies the main problem – the inability to achieve an increase in professional creative level in the face of economic instability. The creative and organizational activity of the “Intiman Theatre” in Seattle shows the positive experience of the existence of a non-profit theatre, including the use of a permanent theatre building and the confirmation of its own programme. The study and understanding the problems of laboratory theatres in the United Statesis relevant for modern Russia, because the laboratory period of a theatre is often the first stage to obtain the professional status.
Keywords: laboratory theatre, American Laboratory Theatre, Actors Studio, Living Theater, Actors’ Equity Association, Intiman Theatre
