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MAIN PAGE > Journal "Man and Culture" > Rubric "Scenic arts"
Scenic arts
Polyakova A.S. - Postmodernist Rusalii: in search for constructive energy pp. 11-17


Abstract: The subject of this research is the spectacle of Gennady Abramov (1939-2015) – the creator of experimental troupe “Class of Expressive Flexibility” in the theatre run by Anatoly Vasiliev “School of Dramatic Art”, which was formed together with the students of the faculty of contemporary dance of the Humanitarian University as a synthesis of the traditional archaic elements with the theme and language of contemporary dance. The object of this research is the compositions of contemporary art in interaction with the archaic forms of dance folklore. The work examines the so-called “Rusalii” due to the ability of attaining new images, as well as new vital powers in the art of dance. The spectacle at hand is analyzed from the perspective of correlation with the works of choreographers-modernists of the XX century. At the same time, the author notes the substantial differences between the oeuvres created in various cultural artistic periods. Scientific novelty consists in referring the spectacle of Gennady Abramov to the circle of yet insignificantly studied phenomena in contemporary dance that are suggested to mark as the “post-folk dance”. The specificity of the latter, on one hand, lies in the affiliation of (post)modern culture (post-culture) and associated with it ironic rethinking of the already existing themes, images, and meanings; and on the other – it is aimed at identification of the new meanings and values due to inclusion of the folklore elements into the fabrics of (post)modern composition. In Abramov’s works, the archaic folklore elements are subject to reframing and reflection, nevertheless endowing the composition with the energy and vitality.
Chepinoga A.V. - “Conflict fact” and “event” as instruments of director’s analysis in staging an opera spectacle pp. 16-26


Abstract: The subject of this research is the key notions of the method of active analysis of the “event” and the “conflict fact” as instruments of director’s active analysis of a play or the opera score. At the same time, special attention is given to the development of accurate definitions for each notion for the purpose of their accurate distinction. The author points out that the “event” and the “conflict fact” belong to the different stages of staging a spectacle. “Event” is necessary on the stage of conception and “table period” as instrument of dividing the plot on pieces (for the purpose s determination of motivational goals of the actions of characters), while “conflict fact” is needed on the stage of realization, in the process of working on a scene (etude) for determining an action (direct “irritators” for the emotional reactions of the actor that manifest in the physical action) within the “piece”, defined by “event”. It is demonstrated that the shift of these notions produces confusion in terminology, as well as deprives this method from its practical application by making it too massive. The author conducts a thorough examination of literature of the classicists of director’s active analysis in the drama and opera theatres, as well as the theory of drama and opera direction with the detailed quoting and note-taking. The essence of the late XX century discussion of the “event” and the “conflict fact” is being explored.
Smirnova E.A. - V. S. Petrov’s spectacles in A. V. Lunacharsky Sevastopol Academic Russian Drama Theater pp. 92-104


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.
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