TRENDS OF GENRE GENESIS IN PERFORMING ARTS
UDC index:
УДК 792
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Information about authors: Slesar Evgeniy Aleksandrovich, PhD in Art History, Associate Professor of Department of Foreign Arts, Russian State Institute of Performing Arts (St. Petersburg, Russian Federation). E-mail: evgeniy.slesar@gmail. com Kibardin Artem Aleksandrovich, Instructor, Department of Production of Theatre Performances and Festivals, St. Petersburg State University of Culture (St. Petersburg, Russian Federation). E-mail: atmosgroup@ yandex.ru
Annotation: The article is concerned with the issues of genre genesis in performing arts and focused on comprehension of present genre models, formed at the turn of XXI century. Director’s criteria assumed as a basis of genre characteristics of performing art works are revealed in the article. An artistic status of genre is considered as post-modern construct aimed at anticipation of audience’s expectations and destruction of artistic hierarchies. The article touches upon the markers of genre, which within post-modern discourse are subjected to “radical plurality” (W. Welsch) and reveal “exhibition value” of performance (W. Benjamin). This article is aimed at revealing principles, central and peripheral elements, which underlie the contemporary genre characteristics of theatrical performances. The article is based on drama of contemporary performance practices and art literature representing the present-day theatre situation. The article features festivals which became canonical to the direction of mass theatrical forms. There are the VI World Festival of Youth and Students theatrical sports performance in S.M. Kirov Stadium, dedicated to 250th anniversary of Leningard “St. Petersburg-Petrograd-Leningrad” (1957, directed by I.M. Tumanov), etc. Not only main aspects of genre construct formation are identified, but also the attention is given to forming director of theatrical performances and festivals as standing out in a separate professional director subsystem. Moreover, the influence of space and time topoi and their initiative character in view of D.M. Genkin’s term “festive situation” (1975) are considered. The methodology of this paper is based on cultural and historical, and comparative methods elaborated by the native theatre studies. As a result, the main principles of genre genesis, elements constituting the genre model, their relations and artistic and aesthetic impact of genre characteristics on the contemporary audience’s reception are distinguished.
Keywords: theatre, theatrical performance, genre, genre models, performing arts, technical code.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Slesar Evgeniy Aleksandrovich, PhD in Art History, Associate Professor of Department of Foreign Arts, Russian State Institute of Performing Arts (St. Petersburg, Russian Federation). E-mail: evgeniy.slesar@gmail. com Kibardin Artem Aleksandrovich, Instructor, Department of Production of Theatre Performances and Festivals, St. Petersburg State University of Culture (St. Petersburg, Russian Federation). E-mail: atmosgroup@ yandex.ru
Annotation: The article is concerned with the issues of genre genesis in performing arts and focused on comprehension of present genre models, formed at the turn of XXI century. Director’s criteria assumed as a basis of genre characteristics of performing art works are revealed in the article. An artistic status of genre is considered as post-modern construct aimed at anticipation of audience’s expectations and destruction of artistic hierarchies. The article touches upon the markers of genre, which within post-modern discourse are subjected to “radical plurality” (W. Welsch) and reveal “exhibition value” of performance (W. Benjamin). This article is aimed at revealing principles, central and peripheral elements, which underlie the contemporary genre characteristics of theatrical performances. The article is based on drama of contemporary performance practices and art literature representing the present-day theatre situation. The article features festivals which became canonical to the direction of mass theatrical forms. There are the VI World Festival of Youth and Students theatrical sports performance in S.M. Kirov Stadium, dedicated to 250th anniversary of Leningard “St. Petersburg-Petrograd-Leningrad” (1957, directed by I.M. Tumanov), etc. Not only main aspects of genre construct formation are identified, but also the attention is given to forming director of theatrical performances and festivals as standing out in a separate professional director subsystem. Moreover, the influence of space and time topoi and their initiative character in view of D.M. Genkin’s term “festive situation” (1975) are considered. The methodology of this paper is based on cultural and historical, and comparative methods elaborated by the native theatre studies. As a result, the main principles of genre genesis, elements constituting the genre model, their relations and artistic and aesthetic impact of genre characteristics on the contemporary audience’s reception are distinguished.
Keywords: theatre, theatrical performance, genre, genre models, performing arts, technical code.
