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„Тупые, дикие, идиоты” a nowy teatr w Rosji na przełomie XX i XXI wieku

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Osińska K.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

2013

vol. Zeszyt specjalny 2013

31-42

In the Russian theatre, especially the postmodern one, since the turn of the 80s and 90s we have been able to observe that young theatre creators tend to adopt a defiant derisive attitude – both towards reality and to texts originating from the culture of the past which often constitute the subject matter of their works. A part of phenomena that are mentioned here might be presumably called ‘performances of laughter’ (as opposed to ‘performances of violence’ – this was the way the so-called new Russian drama was named by Mark Lipovetsky and Birgit Beaumers). This kind of artistic gesture was a reaction to the fact that in the former Soviet Union art was regarded as a mission and theatre was treated as a cradle of culture. They also meant a rebellion against authority figures, also the authority of tradition, and on the other hand they were an expression of surrender in the face of challenges brought in by the new social, political and cultural situation. In the article I assume that ‘performance of laughter’ and other theatre forms, whose authors undermined the possibility of rational cognition, simultaneously enhancing such strategies as absurd, eccentricity, chaos, infantilism, showing-off (in Russian „stiob”), originated from the chronologically earlier trend of visual arts, deriving from the Moscow Conceptualism. Therefore, I begin the article presenting the contents of the magazine “Hudozhestvennyi zhurnal” (2000, 26–27) dedicated to art taming the type of consciousness which medicine diagnoses as “idiotism”.

LE THEATRE TARDIVIEN ENTRE DIAIRESIS ET SUNAGÔGÈ

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MUNTEANU E.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

2011

vol. 3

111-134

With the aesthetical project in mind of composing a theatre à la well-tempered clavichord (Clavecin bien tempéré du théâtre), Jean Tardieu manages to achieve it due to a couple of oxymoronic gestures, that is diairesis and sunagôgè. If the former suggests an irreverent theatre (the result of the re-writing of a series of transformational operations and of demystification of the collective imaginary) with a major focus on obsolete paradigms (vaudeville, bourgeois drama, boulevard drama), the latter is rather a matter of revisiting or transvaluating these hypotexts in the manner of, say, Matéï Visniec’s theatre. Space, time, language and characters undergo some distortion in order to highlight an outworn scenic chronotope, an old world, and to refer to theatre itself in a self-referential gesture. While showing us to the lounge, certain rough sketches would make the spectator consider a dynamic interpretation performed in Diderot’s, Labiche’s or in Feydeau’s time, but this topos has nothing to do with the function miming offstage workings, since it merely provides a theatrical convention. The spectator, receiver of a didascalic paratext with a metatextual scent, becomes an accomplice in this act of théâtromageiros

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1 Acta Universitatis Lodziensis. Folia Litteraria Rossica

1 Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

1 MUNTEANU E.

1 Osińska K.

1 2013

1 2011

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„Тупые, дикие, идиоты” a nowy teatr w Rosji na przełomie XX i XXI wieku

LE THEATRE TARDIVIEN ENTRE DIAIRESIS ET SUNAGÔGÈ