DOI: 10.7256/2454-0625.2022.1.37381

Abstract: This article reveals the basic techniques and approaches formed at the dawn of two important and relevant vector of interaction between theater and cultural anthropology in modern theater art, anthropological theater and theatrical anthropology. The goal of this research lies in the analysis of basic techniques and terms that emerged at the early stages of establishment of practical and theoretical approaches towards studying the ritual and theatrical forms. P. Brook's expeditions raised the question of the key elements of theatrical art. For achieving the result, the English the director and screenwriter used bodily techniques and work with space and objects existing in ritual forms. E.Barba, while working in Amazon jungle, resorted to the tactics of participant observer B. Malinowski. The technique of cultural exchange, which appeared in 1970s, is used by K. Kazimierzczuk and modern Polish anthropological theater. The methods of cultural anthropology underlies the formation and development of new ways of interaction and communication between the actors and audience. The experimental works of Peter Brook and Eugenio Barba of the 1970s are analyzed from the perspective of using the methods of cultural anthropology by stage directors. Anthropological theater and theatrical anthropology reveal to modern practitioners and theorists of theatrical art a wide variety of unique methods of work with corporeal nature of the actor, and become the foothold for the development of new relations between the actor-performer and viewer-copartner in performative practices and multicultural phenomena.

DOI: 10.7256/2454-0625.2021.8.36248

Abstract: This article explores the classical terms and concepts of cultural anthropology, which have found practical application in the performances, paratheatrical experiments and actions of the Polish experimental stage director Jerzy Grotowski (1933–1999) and collectives of the modern anthropological theater that continue the pursuits of Grotowski of the late XX century. The methods and terms of cultural (social) anthropology by A. van Gennep, V. Turner, M. Eliade, B. Malinowski and structural anthropology by C. Levi-Strauss give a better perspective on the specific terminological apparatus of Grotowski, unique practical discoveries of his works, and conceptual basis of theatrical anthropology as one of the paramount phenomena in the development of modern art. This article is first to discuss the problems of the emergence and formation of anthropological methodology as the framework for creating a scientific apparatus for understanding ritual-theatrical forms, as well as practical tool for artistic expression in the theatrical and paratheatrical experiments. Based on the fundamental works of the school of cultural anthropology, the author reveals the key terms of modern anthropological theater. As a result of studying the methods and approaches of cultural anthropology, the author determines the new unique technique of the modern Polish theater ensembles based not on the reconstruction of theatrical forms of the past, but rather reactualization of the mythological structures in the process of creating ritual-theatrical action.

DOI: 10.7256/2454-0757.2019.7.30533

Abstract: The contemporary methods of analysis and creation of scenario structures in theory and practice of the European, American and Russian cinematography primarily refer to the Aristotelian pattern of the development of dramatic action, reconsidered by the screenwriting mentors Linda Seger, Syd Field, and others. The Eastern Region countries have their own development theories with regards to dramatic action, construction of characters, and symbolism of visual and verbal scripts, which greatly affect the creation and perception of films of these culture. The author applies the method of cultural anthropology, leaning on the works of the leading sinologists V. Sorokin and S. Serova. The analysis of the Chinese classic film of the mid XX century “Spring in a Small Town” (1948) directed by Fei Mu proves that the structure of narrative arc of this film complies with the laws of dramaturgical construct of the classic Yuan drama of the XIII-XIV centuries. The structure of script corresponds to the four-act canon; creation of the main character is based on the principle of leading vocal arias, which within the film fabric transform into the voiceover technique. The characters of the film have traditional “introductory monologue” mandatory for the Yuan drama. The basic visual and audio images closely related to the national Chinese culture. Clear understanding of interfusion of the classics of dramaturgical construct film material opens a potentially new approach towards analysis of the films created in China, and possibly, used in the creation and development of joint film projects in modern production.

DOI: 10.7256/2454-0625.2019.2.28862

Abstract: Paratheatrical experiences of the 1970s by Jerzy Grotowski boosted the development of anthropological theatre in modern Polish art. Based on the theory and methodological principles of cultural anthropology, in modern theatre studies, there are two equal terms: E. Barba's theoretical theatrical anthropology, which is based on the study of the body of an actor at the time of performance in European and Eastern theatrical forms, and J. Grotowski's practical anthropology, creating ritual actions in order to recreate the pre-theatrical forms of interaction between the actor and the viewer. The research methodology is based on the basic terminology of cultural and theatrical anthropology, a historical approach and comparative analysis are used. The brightest followers of a paratheatrical period of Grotowski work are searching for the new philosophy of space. In paratheatre, Grotowski himself relies on the concept of "memory of the place", creates a process of unity of an actor and a viewer-participant with the help of historical context of the place of action. In The Gardzienice Centre for Theatre Practices V. Staniewski attempts to create a unified place and time of action for the actor and the viewer with the help of reconstruction of the syncretic model of the performer's existence. In Chorea Theatre T. Rodowicz immerses the viewer-participant in the polemic space of discussion after the performance. "Wegajty" Theatre is as close as possible to the syncretic model of the complicity of the performer and viewer-participant through work with the fabric of the religious ritual in the space of the church. The modern Polish anthropological theater tries to prove and implement in practice a new way of participation of the performer and the viewer in the space of a single theatrical and ritual action by recreating the syncretical awareness.