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А если завтра нет (есть)? Восприятие героем будущего в белорусской драматургии конца ХХ – начала ХХI вв.

100%
Лепишева Е.
Studia Wschodniosłowiańskie
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2017
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vol. 17
EN
In the focus of the article are the plays of Belarusian playwrights belonging to elder (A. Dudarev, E. Popova, A. Delendik, S. Bartokhova) and younger (N. Orekhovsky, D. Balyko, K. Steshik, D. Bogoslavski, P. Pryazhko) generations, who problematized the future of their heroes. The article identifies different models of percepting future by the post-Soviet man of the future: the idea of a “bright future”, admits the link between the past – present – future, the location of consciousness in the present, the eschatological vision of the future. We determined the authors’ aesthetic strategies of their realization at the level of a character and a chronotope, that allow typological parallels with Russian drama (E. Popova – “a new wave”, D. Balyko, K. Steshik, D. Bogoslavski – “a new drama”).
2
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Образы насилия в русской «новой драме»

84%
Szymańska A., Uniwersytet Łódzki W. F.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2015
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vol. 08
RU
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 ко- торых является кризис идентичности, нашедший свое отражение в жестах коммуникативного насилия.
EN
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.
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