BRECHT AND HIS METHOD OF “ALIENATION” (V.L. KLIMOVSKY PERFORMANCES-EXPERIMENTS IN THE KEMEROVO DRAMA THEATRE)

Information about authors: Berseneva Elena Vitalyevna, Sr. Instructor, Theatrical Art Department, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: Aneegma@mail.ru

Annotation: This article is devoted to the actual problems of researching the Soviet theater art in the 1960s in Kuzbass. The Kemerovo Drama Theater is regarded as the center of cultural and spiritual life of the region. This article is directed to identify a conflict between the authorities (ideological and political motives), seeing the theater as a mass art that was understandable and accessible to everybody and a new theater (morally-aesthetically motivated), which realized itself as authentic art. One of the brightest periods of life of the Kemerovo Drama Theater, connected with the work of V.L. Klimovsky is considered in the article. The director-innovator tried to expand a framework of life of a peripheral theater in his experiments. He aspired to create the “Taganka” on the basis of the regional drama theater. Searching for new forms of the communication with the audience led to the renewal of the whole system of the artistic means. Working on the classic play “Romeo and Juliet” V.L. Klimovsky together with theater artist M.T. Rivin staged a performance in which the conflict between the authorities and the people was evident. The party leadership did not accept the interpretation of the classical material. But Moscow theater critic V. Sechin wrote a notice about this Klimovsky’s performance comparing it with “Hamlet” by V. Panso and “Midsummer Night’s Dream” by M. Tumanishvili.

Keywords: drama theatre, the theatre of “thaw” period, Kuzbuss theatres, conventional theatre, method of “alienation,” “Romeo and Juliet”.

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