DOI: 10.7256/2454-0625.2017.11.23882

Abstract: The article is devoted to the analysis of the play 'Masquerade, or Conspiration of Masks' (Sevastopol Russian Drama Theatre named after A. Lunacharsky, 2001) from the point of view of acting methods and techniques used there that present the acting methodology of Vladimir Magar, a leading Sevastopol artistic director since 2000 till 2014. In her research Smirnova touches upon transformations of the literary dramaturgical materials into the acting plot using the cross-cutting of narrative plots and motives and action structured according to the rules of a musical composition. The director creates a special visual perception of the play using the figure and ground combination. Smirnova also analyzes the rle of scenography, plastics, music and other elements of a dramatic action. The article is bsed on the comparative historical method, the author's personal visual perception and analysis of mass media publications devoted to the play. Analysis of Vladimir Magar's methodology, which is a rather understudied topic in the literature, is important for understanding the main principles of Magar's directing activity, in particular, musical construction (the combination of the figure and ground that interact based on general musical principles, episode construction where cuts are given a special role, and the cutting principle). 

DOI: 10.7256/2454-0625.2017.4.18489

Abstract: The subject of the research is the poetics of the play The Cabal of Hypocrites staged in 2013 by Vladimir Magar at Sevastopol Academic Russian Drama Theatre named after Lunacharsky. Vladimir Magar was the leading Sevastopol stage and art director in 2000 - 2014. Being his most famous performance, the aforesaid play is being analyzed from the point of view of director methodology, i.e. techniques and methods used by Magar, in particular, transformation of literary drama elements into a stage plot using the montage of narrative themes and motives as well as developing the narration based on musical composition laws. The author of the article also analyzes the role of the stage design, plastic arts, music and other elements of drama performance. The article is based on the comparative historical method, personal experience of the author when seeing the play and analysis of articles and responses to the play. Vladimir Magar's creative work is studied for the first time in the academic literature. Analysis of his director style can be useful to define certain patterns typical for the regional theatre life and to restore pages of the Russian theatre history that have been ignored by Russian researchers so far. Analysis of the poetics of the aforesaid play is very important for understanding such principles of the director's activity as multi-layer literary and dramaturgical basis of his performances, their montage composition, playing method of an actor and the system of keynotes.

DOI: 10.25136/2409-8744.2017.4.23894

Abstract:     The subject of this research is the poetic style of the spectacle “Othello” created by Vladimir Magar in 2011 in the Sevastopol Academic Russian Dramatic A. Lunacharsky Theatre. The article analyzes the main peculiarities of the theatre director’s artistic manner: creation of the atmosphere of a game and romantic two-worldness; use of multicomponent literary-dramaturgical basis of performance; mounting composition and music structure; combination of various ways of actor’s existence, leitmotif system, etc. The author examines the role of scenography, music, and other components of a dramatic act. The work applies the comparative-historical method, personal spectator’s experience of the author and analysis of print media dedicated to the spectacle. Works of the Sevastopol theatre director Vladimir Magar are absolutely unstudied, and this article manifests as a continuation of research of the poetic style of his spectacles. The analysis of poetic style of the spectacle “Othello” is essential for comprehending the key principles of Magar’s directing activity. The research of his directing manner helps restoring the obscured pages in the history of Russian theatre.    

DOI: 10.25136/2409-8744.2017.2.18723

Abstract: The subject of this research is the poetic style of V. S. Petrov’s spectacles created over the period of 1985-1989 in A. V. Lunacharsky Sevastopol Academic Russian Drama Theater, among which are M. Bulgakov’s “Heart of a Dog”, M. Frayn’s “Theatre”, I. Friedberg’s “Arena”, and others. The author analyzes the main peculiarities of artistic manner of the director: creation of playful atmosphere and romantic world duality, multilayerdness, irony, etc. The article examines the role of scenography, plasticity, music, and other components of the dramatic action. The work is based on the use of comparative-historical method, author’s personal spectator experience, and analysis of the print media dedicated to the spectacle. The author is first to study the creative work of V. S. Petrov; his directorial manner can be illustrative for determination of the regularities common to the regional theatrical life, as well as restore the pages in the history of Russian theatre that fell out of the context of research activity. Over the brief period of his professional work, Petrov was able to help the theatre overcome the protracted crises and achieve wide popularity.