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    Wyświetlanie 1-8 z 8
    Tytuł:
    Проблема сценичности российской „новой драмы”
    The Problem of Theatricality of Russian „new drama”
    Autorzy:
    Шевченко, Елена Н.
    Powiązania:
    https://bibliotekanauki.pl/articles/22446758.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Russian „new drama”
    theatricality
    problem of scenic interpretation
    performance
    ritual
    SounDrama
    Opis:
    The essay addresses the notion as ‘theatricality’ as such, its historically changing character and its specific qualities concerning the texts of Russian „new drama”. Following M. Lipovetsky, B. Boymers and others the author points out its performative quality, which creates a new type of communication with spectators similar to a ritual act. The author comes to the conclusion that new theatricality of the modern drama asks for reevaluation of traditional approaches to the scenic adaptation of literary material and gives examples proving the possibility of various solutions of this creative task.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 57-67
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Россия в зеркале современной драмы. Коллаж образа
    Russia in the Mirror of Contemporary Dramatic Works – Collage of Image
    Autorzy:
    Olaszek, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/22446767.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    contemporary Russian drama
    image of present-day Russia in contemporary theatre
    new Russian drama – poetics
    Opis:
    This paper attempts to reconstruct the image of present-day Russia, as presented in the contemporary Russian theatre. Combining isolated fragments of new post-perestroika reality into a cohesive whole: the social status of the intelligentsia, of ordinary people, young people and senior citizens and problems of settling accounts with the Communist past and the Chechen war, which have been scattered throughout individual dramatic works, makes it possible to show the author’s appraisal of the social changes. These are expressed through the employment of such metaphorical words and phrases as ‘madhouse / loony bin’, [a right] ‘farce’, [totally] ‘chaotic’, ‘new broom sweeps clean’ etc. The object of scientific reflection is also the ways of artistic realization of the image of Russia. The various means of artistic expression employed in the ‘new drama’: modifications of genre and time-space modifications, historical figures and simulacra, various stylistic means, like irony and grotesque, rhetorical figures, notional metaphors; and finally, inter-textual quotations and references taken from a vast store of pop culture and the language of mass media impart a collage-like atmosphere to the image, which allude through its aesthetics to the theatre of absurd.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 15-29
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Образы насилия в русской «новой драме»
    Acts of violence in contemporary Russian drama
    Autorzy:
    Szymańska, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/968636.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    «новая драма»
    коммуникативное насилие
    братья Пресняковы
    Ксе- ния Драгунская
    Фарид Нагим
    communicative violence
    Russian "New Drama"
    Presnyakov brothers
    Ksenia Dragunskaya
    Farid Nagim
    Opis:
    Точкой отсчета для наших рассуждении стал труд "Перформансы насилия" Марка Липо- вецкого и Биргит Боймерс. В книге рассматриваются проявления коммуникативного насилия, являющегося результатом кризиса идентичности постсоветского поколения. В статье анализу подвергаются три новодрамовские пьесы русских драматургов: Ксении Драгунской, братьев Пресняковых и Фарида Нагима. В своих пьесах авторы сосредоточились на динамических изменениях в области общественной жизни в постсоветской действительности, одним из которых является кризис идентичности, нашедший свое отражение в жестах коммуникативного насилия.
    The starting point for the analyses has been Mark Lipovetsky and Birgit Beumers’ study „Performing Violence”, which investigates the violent portrayal of the identity crisis of a generation in 21st-century Russian theatrical works. In the present paper, three dramas by contemporary Russian playwrights – Ksenia Dragunskaya, the Presnyakov brothers and Farid Nagim – are analyzed. In their plays they concentrate on the dynamic changes taking place in the sphere of public life in the post-Soviet country. A dominant feature of their plays is the deep crisis of identity of the post-Soviet society which manifests itself in acts of communicative violence.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2015, 08; 223-230
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Nowy dramat” i (nowa) duchowość. Problem duchowych poszukiwań w rosyjskiej i białoruskiej dramaturgii XXI w. (na przykładzie wybranych utworów)
    Autorzy:
    Wasińczuk, Katarzyna Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/624916.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
    Tematy:
    Belarusian „new drama", Russian „new drama", Diana Balyko, Andrey Kureychik, Pavel Priazhko, Ivan Vyrypayev, Vasiliy Sigarev
    białoruski „nowy dramat”, rosyjski „nowy dramat”, Diana Bałyko, Andriej Kurejczyk, Paweł Priażko, Iwan Wyrypajew, Wasilij Sigariew
    беларуская „новая драма", руская „новая драма", Дзіяна Балыка, Ан- дрэй Курэйчык, Павел Пражко, Іван Вырыпаеў, Васілій Сігараў
    Opis:
    Contemporary Russian-language “new drama" (both Russian and Belarusian) is most often identified with plays performed using verbatim-theatre techniques, and with works of a documentary character that feature hyper-realistic, naturalistic or Neo-Brutalist elements. However, this is not the only distinctive tendency in the poetics of contemporary Eastern Slavic drama. There exists a completely different, metaphorical and philosophical current of evolution of „new drama". The present article is devoted to the concept of spirituality in new Russian (Ivan Vyrypayev, Vasiliy Sigarev) and Belarusian (Diana Balyko, Pavel Priazhko, Andrey Kureychik) drama, as it explores the sacral and spiritual elements in the latter and attempts to unveil the deeper meaning of several selected works. The author wishes to evaluate how spiritual issues are depicted, and to what modifications the presentation of these issues is subject to. Due to the obvious anthropological character of the works analyzed, where the human being and its spiritual queries become a semantic carrier, the literary character constitutes a primary analytical category in itself. The article is an attempt to analyze and interpret religious and spiritual elements in works that may sometimes not be perceived as a manifestation of faith. The article draws attention to the use of motifs known from the Christian cultural sphere and to the referencing and modernization of old Ruthenian  anthropological types (such as strannik, yurodivy). The author showcases how contemporary Russian and Belarusian playwrights depict the human being as a spiritual seeker, as they address both the sacred and the secularized understanding of spirituality.
    Współczesny rosyjskojęzyczny (zarówno rosyjski, jak i białoruski) „nowy dramat” utożsamiany jest najczęściej ze sztukami realizowanymi metodą verbatim, z utworami dokumentalnymi, w których wykorzystywane są elementy hiperrealistyczne, naturalistyczne czy neobrutalistyczne.Nie jest to jedyna tendencja charakterystyczna dla poetyki współczesnej dramaturgii wschodniosłowiańskiej. Równolegle funkcjonuje bowiem zgoła inny, metaforyczno-filozoficzny, kierunek rozwoju „nowego dramatu”. Artykuł poświęcony został problemowi duchowości w nowej dramaturgii rosyjskiej (Iwan Wyrypajew, Wasilij Sigariew) i białoruskiej (Diana Bałykо, Paweł Priażko, Andriej Kurejczyk). Celem była eksploracja elementów sakralnych i duchowych, dotarcie do sensów głębokich wybranych utworów. Autor postanowił zbadać, w jaki sposób prezentowane są problemy duchowe, jakim modyfikacjom podlega przedstawienie tej problematyki. Ze względu na wyraźny antropologiczny rys utworów, w których nośnikiem semantyki staje się człowiek i jego wewnętrzne poszukiwania, to postać literacka stanowi w tekście podstawową kategorię badawczą. Artykuł jest próbą analizy oraz interpretacji religijnych i duchowych elementów w tekstach niekiedy dalekich od manifestowania wiary. W artykule zwrócono uwagę na wykorzystanie motywów znanych z chrześcijańskiego kręgu kulturowego, przywołanie i uwspółcześnienie staroruskich typów antropologicznych (takich jak strannik, jurodiwy). Udowodniono, że współcześni dramatopisarze rosyjscy i białoruscy kreują obraz człowieka poszukującego, zwracając się zarówno ku religijnemu, jak również zsekularyzowanemu rozumieniu duchowości.
    Сучасная рускамоўная (як руская так i беларуская) „новая драма" асацыюецца найчасцей з п’есамі, напісанымі метадам verbatim, з дакументальнымі тэкстамі, у якіх выкарыстоўваюцца гіперрэалістычныя, натуралістычныя ці неабрутальныя элементы. Але гэта не адзіная тэндэнцыя, характэрная для паэтыкі сучаснай усходнеславянскай драматургіі. Паралельна развіваецца іншая, метафарычна-філасофская плынь “новай драмы”. Даны артыкул прысвечаны праблеме духоўнасці ў найноўшай рускай (Іван Вырыпаеў, Васілій Сігараў) і беларускай (Дзіяна Балыка, Павел Пражко, Андрэй Курэйчык) драматургіі. Мэта артыкула – выяўленне духоўных, сакральных элементаў выбраных твораў. Галоўная задача артыкула – аналіз спосабаў і мэтаў прадстаўлення духоўных пытанняў, даследаванне мадыфікацый выяўленння духоўнай праблематыкі. Аналізуемыя творы вылучаюцца сваім антрапалагічным характарам, а носьбітам семантыкі з'яўляецца чалавек і яго ўнутраныя пошукі, таму менавіта літаратурны персанаж становіцца асноўнай катэгорыяй даследавання. У артыкуле робіцца спроба аналізу і інтэрпрэтацыі рэлігійных і духоўных элементаў у творах, далёкіх ад маніфестацыі веры. Звяртаецца ўвага на выкарыстанне матываў і тэмаў хрысціянскай культуры, на актуалізацыю старажытнарускіх антрапалагічных тыпаў (такіх як скіталец, юродзівы). Даказваецца, што сучасныя рускія і беларускія драматургі ствараюць вобраз чалавека ў стане духоўнага пошуку, звяртаючыся як да рэлігійнага, так і да свецкага разумення духоўнасці.
    Źródło:
    Studia Białorutenistyczne; 2018, 12
    1898-0457
    Pojawia się w:
    Studia Białorutenistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Драматургия движения „Новая драма” и кризис идентичности: социокультурный и литературоведческий аспект
    The Russian movement „New Drama and the identity crisis: socio-cultural and philological aspects
    Autorzy:
    Bolotyan, Ilmira
    Powiązania:
    https://bibliotekanauki.pl/articles/482249.pdf
    Data publikacji:
    2009-12-01
    Wydawca:
    Uniwersytet Warmińsko-Mazurski w Olsztynie
    Tematy:
    Russian literature
    New Drama
    contemporary Russian dramaturgy
    Opis:
    „New Drama” is the name of a theatrical-dramatic movement born in Russia in the end of XX beginning of XXI century. It brings together many authors, directors and actors. The article describes principal representations of the reality appearing in the contemporary Russian dramaturgy: the category of violence and the dramatic „image of the identity crisis”. Representations of four types of identification are discussed: essential, social, cultural and spiritual - which are the basis of the first typology of the New Drama’s conflict situations, characters and plots.
    Źródło:
    Acta Polono-Ruthenica; 2009, 1, XIV; 25-35
    1427-549X
    Pojawia się w:
    Acta Polono-Ruthenica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Религиозный дискурс в драматургии Ивана Вырыпаева (Бытие № 2, Кислород, Пьяные)
    Religious discourse in the dramaturgy of Ivan Wyrypaev (Genesis no. 2, Oxygen, The Drunk Ones)
    Autorzy:
    Wasińczuk, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/1832531.pdf
    Data publikacji:
    2019-11-22
    Wydawca:
    Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
    Tematy:
    Иван Вырыпаев
    новая драма и религия
    Бытие № 2
    Кислород
    Пьяные
    Ivan Vyrypaev
    new Russian drama and religion
    Genesis No. 2
    Oxygen
    The Drunk Ones
    Opis:
    The present article is devoted to Ivan Vyrypayev’s dramaturgy, which raises religious issues and develops the threads of spiritual exploration. The aim of our work is to trace religious motifs and to indicate the manner of presentation of a sacral, spiritual context in works that seem to be far from manifesting the faith. This aim also leads to an attempt to reconstruct the concept of God and man in the dramas of Vyrypayev. The works of the Russian playwright, which are a specific record of cultural, social and religious transformations, provoke a reflection on the way of experiencing transcendence by modern man suspended between atheism and institutionalized religiosity. The tasks of the article are motivated by the presence in the world of numerous religious symbols, references to various spiritual traditions, the use of literary genres and images of biblical provenance, etc. The subject of these analyses are the selected dramas by Ivan Vyrypayev, Genesis No. 2, Oxygen and The Drunk Ones.
    Źródło:
    Studia Wschodniosłowiańskie; 2019, 19; 263-277
    1642-557X
    Pojawia się w:
    Studia Wschodniosłowiańskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Жизнь, зависшая в цитатах. О комедии Олега Богаева „Как я съела мужа”
    A Life Trapped in Quotation. On Oleg Bogaev’s Comedy “How I Ate My Husband”
    Autorzy:
    Graf, Alexander
    Powiązania:
    https://bibliotekanauki.pl/articles/22446774.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    New Drama
    Russian literature
    Oleg Bogaev
    Comedy
    Social critics
    Opis:
    Citationality and intertextual combining of the new ‘New Drama’ form a central device of contemporary dramatic arts. In his comedy How I Ate My Husband (2009) Bogaev takes citationality to extremes and lucidly demonstrates that not only the dramatis personae but also the playwright himself, the director, and the audience are subjected to the torrent of models and pretexts largely determining the action. The whole life has frozen as if it was one big quotation running through the canvas of the dramatic text on all levels and linking the fictional life within the play to real life, combining traditional concepts of theatre with the ideas of new drama. There is no place for coincidence, it turns out that all is one persistent recurrence.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 173-183
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Метод деконструкции в современной российской „новой драме”
    The Deconstruction Method in Contemporary Russian ‘new drama’
    Autorzy:
    Колбасин, Вадим Н.
    Powiązania:
    https://bibliotekanauki.pl/articles/22446756.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    contemporary Russian drama
    ‘new drama’
    deconstruction
    literary text de-aestheticization
    relationship between literature and reality
    Opis:
    Contemporary Russian ‘new drama’ is a controversy with a range of traditions in art, an attempt to protest against the established aesthetic forms which express the main line of modern theatre and drama. There is an idea of the relationship between literature and reality in the ‘new drama’ when the penetration into reality expresses a literary text de-aestheticization process. We determine the method of the Russian ‘new drama’ as deconstruction, which consists in the fact that the principle of authenticity in cooperation with the reality and its fixation are declared in contemporary ‘new drama’. First of all it is manifested in the choice of ‘material’ for the plays. Deconstruction appears with respect to the traditional ‘cultural’ drama topics. The taboo of physiological presentation is removed, violence becomes the basis of dramatic experience, and antiaesthetizm – the principle of its implementation. In the atmosphere of the ‘bottom of life’ every dramatic situation takes place. The antiheroes become heroes of the ‘new drama’. The character which is the most important category for drama is subject to deconstruction. The technique Verbatim (‘literally’), which is the basis of the documentary drama method, does not imply the well-defined author’s nature. The playwright is just a developer of issues and a ‘recording’ person. Religious, literary and historical myths undergo destruction. Finally, the deconstruction method influences poetics and the ‘new drama’ structure. The drama genre specificity is finally destroyed, there is even no attempt to identify the play genre. Thus, the multileveled deconstruction method becomes a determining factor for the ‘new drama’. This trend of simplification, fundamental principles de-aestheticization is not only in the drama but in the traditional relationship between art and reality.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 49-56
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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