ENTERTAINMENT TREND IN CULTURE OF THE POST-SOVIET PERIOD: IMPLEMENTING THE COMEDIES OF FOREIGN AUTHORS (IN CASE OF THE KUZBASS THEATERS)
UDC index:
008 + 792.028.3
DOI: 10.31773/2078-1768-2019-47-13-20.
Article ID in the RSCI: 37531555
Article file: Download
Information about authors: Prokopova Natalya Leonidovna, Dr of Culturology, Associate Professor, Dean of Faculty of Direction and Performing Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: n_prokopova@kemnet.ru Prokopov Viktor Leonidovich, Associate Professor, Associate Professor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: pvl08@mail.ru
Annotation: The relevance of the theme is connected with the judgment of importance of foreign authors’ comedies in the Post-Soviet art period. The goal of the article corresponds to the argument of conditionality for implementing the comedies into repertoire of the Kuzbass theaters as a statement for entertainment trend in the Post-Soviet art period. The authors solve the problems connected with identifying the reasons for implementing the genre of comedy in repertoire of the Kuzbass theaters, approved by influence of a vector of staginess and entertainment in theatrical culture on changing the performance stylistics, scenic play quality and acting skills technology. Moreover, the authors specify belonging of the Kuzbass theaters to the general trend of developing the Russian theaters in the Post-Soviet period. As the first general trend, the authors call interest of the Kuzbass theaters in comedies by foreign playwrights such as Ray Cooney, Ken Ludwig, Marc Camoletti. In addition, as the second general trend the authors consider active experiments in the field of scenic plasticity. In conclusion, the authors prove an ambiguity to implement the trend of comedies of foreign authors for developing the theatrical culture of the Post-Soviet period. The argument indicating the reduced importance of appealing the comedies by foreign authors is called deviation of the Russian theater from a high educational and cultural mission. In addition, the authors give the arguments in favor of experience to stage the comedies of foreign authors in the Kuzbass theaters. Accumulation of experience in creating and using the corporal and plastic images, practical development of play theater model, mastering the technology of creating a performance based on expressiveness synthesis are specified as positive statements for appealing the comedies by foreign authors.
Keywords: Post-Soviet culture, entertainment trend, theatrical culture, comedies of foreign authors.
DOI: 10.31773/2078-1768-2019-47-13-20.
Article ID in the RSCI: 37531555
Article file: Download
Information about authors: Prokopova Natalya Leonidovna, Dr of Culturology, Associate Professor, Dean of Faculty of Direction and Performing Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: n_prokopova@kemnet.ru Prokopov Viktor Leonidovich, Associate Professor, Associate Professor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: pvl08@mail.ru
Annotation: The relevance of the theme is connected with the judgment of importance of foreign authors’ comedies in the Post-Soviet art period. The goal of the article corresponds to the argument of conditionality for implementing the comedies into repertoire of the Kuzbass theaters as a statement for entertainment trend in the Post-Soviet art period. The authors solve the problems connected with identifying the reasons for implementing the genre of comedy in repertoire of the Kuzbass theaters, approved by influence of a vector of staginess and entertainment in theatrical culture on changing the performance stylistics, scenic play quality and acting skills technology. Moreover, the authors specify belonging of the Kuzbass theaters to the general trend of developing the Russian theaters in the Post-Soviet period. As the first general trend, the authors call interest of the Kuzbass theaters in comedies by foreign playwrights such as Ray Cooney, Ken Ludwig, Marc Camoletti. In addition, as the second general trend the authors consider active experiments in the field of scenic plasticity. In conclusion, the authors prove an ambiguity to implement the trend of comedies of foreign authors for developing the theatrical culture of the Post-Soviet period. The argument indicating the reduced importance of appealing the comedies by foreign authors is called deviation of the Russian theater from a high educational and cultural mission. In addition, the authors give the arguments in favor of experience to stage the comedies of foreign authors in the Kuzbass theaters. Accumulation of experience in creating and using the corporal and plastic images, practical development of play theater model, mastering the technology of creating a performance based on expressiveness synthesis are specified as positive statements for appealing the comedies by foreign authors.
Keywords: Post-Soviet culture, entertainment trend, theatrical culture, comedies of foreign authors.
