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Русская современная политическая драма в отношении к традиции

100%
Olaszek B.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2012
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issue 5
164-171
EN
Eminent Russian theatre makers, playwrights and theatre critics are not unanimous in their opinion on the matter of the indispensability of political drama. The majority of them maintain that there is a need for political drama in the times of excessive politicization of the mass media. However, they make it clear that theatre productions should not be a direct response to the events, actions and political activities of the governing authorities, individuals and organizations, but merely reflections on the human condition in the new social reality. The subject of our study is the issue of references in the recent Russian political drama to the the politicized Soviet plays of the 1970 with respect to the theme: an individual vs. government, the principles of exercising power, democracy and equal rights and the role of the mass media; and with respect to artistic means of expression: narrative and journalistic, a documentary and parodic manner, the poetics of the absurd and non-canonical genre stylization. From the point of view of the theme, the contemporary drama continues the tradition of the leading playwrights of the ‘new wave’, and as for the way of expression, new solutions are proposed, such as: irony, parody, and the idea of the absurd, with reference to theatre of the absurd.
2
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Россия в зеркале современной драмы. Коллаж образа

100%
Olaszek B.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2013
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vol. Zeszyt specjalny 2013
15-29
EN
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.
3
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Zamknięcie w języku. „Oblężenie” Jewgienija Griszkowca

100%
Biegluk-Leś W.
Białostockie Studia Literaturoznawcze
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2018
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issue 13
263-284
EN
The author of this article analyzes the play The Siege by Evgeny Grishkovets, a renowned contemporary Russian writer. She places it against a background of the rest of his works, exposing essential features that characterize his entire dramaturgy, such as the presence of metatheatrical devices, recognition of the importance of contact with the audience, and emphasis on stage performance. The analysis also draws attention to such elements of the play as non-homogeneous spatio-temoral framework, hybrid composition of characters, and parallel development of plot threads. Special attention is paid to the “imprisoning” of characters in discourses and the ambivalent nature of cultural symbols. As the author points out, The Siege stands out in the Grishkovets’s oeuvre, both by departing from the dominant monodrama form and by juxtaposing key themes recurring in his works: the human experience of war, the reflection on the nature of time, the collapse of language referential abilities, and the impossibility of authentic communication.
4
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Метод деконструкции в современной российской „новой драме”

88%
Колбасин В. Н.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2013
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vol. Zeszyt specjalny 2013
49-56
EN
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.
5
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Диалог с абсурдом. Заметки о драматургии Михаила Волохова

75%
Mięsowska L., Uniwersytet Śląski W. F.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2014
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vol. 07
EN
The article presents an attempt to describe the oeuvre of the Russian and French playwright and theatre theoretician Mikhail Volokhov in the context of his relation to the Russian theatre of the absurd of the 1920s as well as to the 1950s western model of theatre of the absurd, represented by Samuel Beckett and Eugène Ionesco. The author also discusses Volokhov’s dramatic works in reference to the philosophy of existentialism.
6
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„...i o niczym nie myśli”. Dramaturgia pustki Pawła Priażki

75%
Lappo I.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2013
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vol. Zeszyt specjalny 2013
199-210
EN
The article presents an analysis of genre transformations in the literary output of Pavel Pryazhko, who has been considered to be a leader of the youngest generation of Russia’s New Drama movement. Following a series of hyper-naturalistic dramas, written with the use of the verbatim technique, dramaturgic self-awareness of the young writer finds its creative outlet in monologue-confession, after which there comes a ‘winding up of the discourse’ and a series of anti-dramatic shows/performances performed as a duet with Dmitry Volkostrelov. Pryazhko shifted attention from the content to the form of drama, from the theme to the language, worked out his own type of hero and type of conflict. The playwright searches for new, radical theatrical forms, carefully listens to contemporary language, and therefore, also the awareness reflected by this language.
7
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Концепт ЖИЗНЬ в драме Василия Сигарева

75%
Strycharski J.
Acta Neophilologica
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2012
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issue XIV/2
221-230
EN
The theoretical basis of the study is the theory of the concept, including the theory of literary concept. The works of the contemporary Russian dramatist Vassily Sigarev are the materials of the study. The aim of the article is to define the place and the role of the existential problem in Sigarev’s works. The scope and merit of the concept of LIFE is presented on the basis of the chosen fragments of the contexts including the words life, live and their derivatives from the drama Черное молоко. The analysis of the contexts shows that the literary concept which is presented in Sigarev’s works is identified with the nationwide concept. The feature of the author’s individual concept, as a literary version, is as follows: the semantic core of the concept LIFE, from living to philosophic, is presented in a clear way in the drama Черное молоко.
8
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Od „nowego realizmu” ku poszukiwaniom awangardowym. Kilka uwag o współczesnej dramaturgii rosyjskiej

63%
Piłat W.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2013
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vol. Zeszyt specjalny 2013
43-48
EN
The article gives us some insight into the subsequent phases of development of contemporary Russian dramaturgy, which is illustrated by works of selected authors. For over two decades a new generation of playwrights has entered literature and it is this generation that is setting the trend in this sphere. The changes began with the journalistic drama by Mikhail Shatrov, whose debut was still in the Soviet times, and his follower was Aleksandr Buravskiy. The works of Vladimir Voinovich and close to it Joseph Brodsky’s dramaturgy stay on the border of journalist drama and psychological drama of manners. However, the forerunner of new drama was created by Lyudmila Petrushevskaya who preceded the dramaturgy of Alexei Schipenko, Nikolai Kolada, Maria Arbuzova. Further changes of dramatic form could be observed in plays by Yevgeni Grishkovets, Ivan Vyrypajev, the Presnyakov brothers who already belong to a new generation of playwrights.
9
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Metateatralność w dramacie Jewgienija Wodołazkina Parodysta

63%
Biegluk-Leś W.
Studia Wschodniosłowiańskie
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2021
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vol. 21
5-22
EN
As the author of the article claims, the metatheatricality in Eugene Vodolazkin’s drama The Parodist is constituted by the multiplication of levels of presented reality and its specific modelling, exposing the “derivativness” and “fictionality”.The multi-layered reality is generated by various, usually perfidious, realizations of the concept of “theatre in theatre” (e.g. thanks to outright and allusive intertextuality, implicitly inscribed in the text of the drama); appearance of specific structural and compositional elements and the simultaneity resembling a film technique of parallel editing; breaking down the stage illusion and maximising the theatrum mundi concept; a play generated within a dramatic plot by the heroes themselves; and metaparody of artistic issues in the dramatic dialogue.
10
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Pierwiastek ironiczny w dramaturgii Oli Muchiny

51%
Charko-Klekot P.
Przegląd Rusycystyczny
|
2023
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issue 2 (182)
124-142
RU
В настоящей статье анализу подвергается существование иронии в творчестве Оли Мухиной. Понятие это выступает в пьесах драматурга не только как литературный прием, но и прежде всего как способ мышления человека эпохи постмодерна. Применяя ироническое начало, а также сопутствующие ему категории карнавализации и игры, Мухина подчеркивает отсутствие стабилизации постсовременного мира. Делает это, между прочим, путем использования алогичных, кажущихся непоследовательными и ироничных диалогов своих героев. В статье анализируются такие произведения как: Таня-Таня, Ю и Летит.
PL
Artykuł poddaje namysłowi obecność ironii w twórczości Oli Muchiny.  Pojęcie to  jest w sztukach dramatopisarki nie tylko chwytem literackim, ale przede wszystkim sposobem myślenia człowieka doby postmodernizmu. Wykorzystanie pierwiastka ironicznego i towarzyszących mu kategorii karnawalizacji czy gry służą Muchinie do uwypuklenia wrażenia braku stabilizacji ponowoczesnego świata, między innymi poprzez nielogiczne, pozornie niespójne i ironiczne dialogi bohaterów. Analizie poddane zostały następujące utwory: Tania-Tania, Ju oraz Leci.
EN
This article looks into the presence of irony in the artistic output of Olga Mukhina. This notion is not only a literary device in the playwright's plays but above all a way of thinking of the postmodern man. The ironic component and the accompanying categories of carnivalization and play are used by Mukhina to highlight the impression of the instability of the postmodern world, for instance through illogical, seemingly incoherent, and ironic dialogues of the characters. The following works were analyzed: Tanya-Tanya, You, and Flying.
11
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Politikum a privatum O podobách ruskej dokumentárnej drámy

51%
Štorková Maliti R.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2016
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vol. 53
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issue 26
125-132
EN
In 2002, the theatre Teatr.doc was established in the Moscow by the group of Russian playwrights led by Yelena Gremina and Mikhail Ugarov. The verbatim method and documentary drama became a new trend of their performing arts creation. The political theatre is in the current Russian theatre culture represented especially by the documentary drama and the work of the Teatr.doc. The documentary drama is the most significant stream of the Russian new drama and is existentially related to the current social and political situation.
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