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Wyjść z teatru i w nim pozostać Nikołaj Jewreinow – spojrzenie z XXI wieku

100%
Osińska K.
Didaskalia. Gazeta Teatralna
|
2021
|
issue 161
176-226
EN
Nowadays the growing interest in the work of Nikolai Evreinov, especially in the idea of ​​the theatralization of life, provokes the question: Was Evreinov really ahead of his time, as Erika Fischer-Lichte suggests? What do his ideas mean today, in the era of performance studies? The article discusses Evreinov's most important concepts – such as the theatralization of life (on the example of human sex life, among others), monodrama, theater for oneself – as well as his works on the origins of theater which he saw in the scapegoat rituals, folk rituals, and public executions. Evreinov's ideas are juxtaposed with his work as a director (as the co-creator of the Ancient Theater in St. Petersburg, and the director of the mass spectacle The Storming of the Winter Palace) and with his dramatic works (on the example of the following dramas: The Beautiful Despot, In the Stage-Wings of the Soul [also known as: Theatre of the Soul], the parody The Inspector General [also known as: The Government Inspector] and The Chief Thing).
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Arlekin zza kordonu: Z recepcji Nikołaja Jewreinowa w Polsce (1921–1932)

86%
Masłowski M.
Pamiętnik Teatralny
|
2020
|
issue 1(273)
71-144
EN
For Nikolai Evreinov, a Russian playwright, director, and theatre thinker, author of the theory of the “theatralisation of life”, the Polish theatre culture of the 1920s became a real window to Europe. This article presents selected contexts for the Polish reception of his manifesto play, Самое главное (The Chief Thing), from the first stagings at Teatr im. Juliusza Słowackiego (Juliusz Słowacki Theatre) in Kraków and Teatr Polski (Polish Theatre) in Warsaw, through the discussions about the theoretical message of the work, to attempts at assimilating the Russian author’s whole output. It discusses the influence of Stanisław Przybyszewski’s work on the theory and practice of Evreinov’s monodrama. It compares Evreinov’s understanding of naturalism and his views on the art of acting and theatre with those of his friend Stanisława Wysocka, the Polish actress. It presents the balance of the Russian director’s guest appearances in Warsaw in 1925: the legal regulations concerning his works and his new contacts with representatives of the art world, but also negative reviews. The appendix features a selection of Evreinov’s correspondence with Polish theatre figures: Zofia Nałkowska, Julian Tuwim, Emil Zegadłowicz, Stanisława Wysocka, and Eugeniusz Świerczewski, from the turn of the 1930s.
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