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Эпическое и лирическое в драматургии Вадима Леванова

100%
Журчева Т., Самарский государственный университет Ф. ф.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2014
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vol. 07
EN
The article is devoted to the correlation of epic and lyrical features in the plays by Vadim Levanov, one of the most interesting authors of the newest Russian dramaturgy. Special attention is given to the plays united in a historical diptych: "The Life of the Holy Blessed Xenia of St. Petersburg" and "The Most Possibly Authentic and Plausible Biography of the Bloody Lady Darya Saltykova, a Moscow Hereditary Noblewoman".
2
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Формы выражения авторского сознания в новейшей русской драме

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Журчева О., Поволжская государственная социально-гуманитарная академия Ф. ф.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2014
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vol. 07
EN
The article is devoted to the problem of authorial intention in contemporary Russian drama. Firstly, major theoretical approaches to the ‘problem of the author’ in drama are identified. It is then demonstrated how cultural paradigms change in an artistic consciousness and how, as a consequence, the most important structural components of drama – conflict, character, genre – become discredited and deconstructed. There follows an overview of specific examples of such transformations of these generic features of drama. It is argued in the paper that such transformations result from the activation of the author’s consciousness and are a manifestation of the author’s intentions regarding the modern picture of the world.
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Европейский и российский опыт лингвистической урбанистики как теоретическая база казахстанских исследований

100%
Suyunova G.
Przegląd Wschodnioeuropejski
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2018
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vol. 2
219-227
EN
The article is an attempt to analyze the status of linguistic urban studies in Kazakhstan. The author compares the achievements of domestic linguists in this area of scientific knowledge with similar studies of foreign scientists and identifies options for using their experience for the development of Kazakhstan linguistic urban study. The strong linguo-communicative potential of modern cities is emphasized, providing scientists with an ever-growing scope of objects of urban study. The author outlines some perspective and modern trends in the study of urban systems. The article was prepared under the grant-based support of the Ministry of Education and Science of the Republic of Kazakhstan, “The Best Teacher of High School – 2017” award.
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Ремейк/ремикс: шекспировский код в произведениях братьев Пресняковых

100%
Frolova A.
Przegląd Wschodnioeuropejski
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2018
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vol. 2
347-354
EN
Art researchers of modern literature are connected with the classical heritage. The remake becomes one of the forms of the code conversion of classics, which gives context and allows the creation of “an expressive sociocultural portrait of our time”. The remix assumes a creation of the secondary work in a more modern option and often presents the “text pieces” rearranged in any order. In the modern literature process it is possible to note the paradoxical phenomenon when the same plot is portrayed by the same author twice. The Brothers Presnyakovs create works at an interval of five years with the identical name, “Playing the Victim”, but in different genres (the play and the novel). Texts are connected by special relations: they have a distinct subject similarity, an identical system of images and are united with their correlation to Shakespeare’s tragedy “Hamlet”. In this article, there is an attempt to understand why the authors readdress the mastered material and how the meanings of the universal language of classics based on absolute values are transformed.
5
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Атрофия разума: Юрьев день Кирилла Серебренникова

86%
Fedorushkov E.
Studia Rossica Posnaniensia
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2021
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vol. 46
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issue 2
69-77
EN
The article analyses the figure of the heroine Lubov in Kirill Serebrennikov’s film St George’s Day. The main aim is to show how the town of Yuriev and its residents affect the spiritual change of Lubov. The author examines the consistent rejection of the truth of the mind in favour of the truth of faith in Lubov’s life. The initial multilevel conflict between the opera singer and the town is supposed to be laid out in the Russian attitude to the world, which is based on the verge of two binary paradigms – the West and the East – exemplifying in turn the culture of the mind (reason) and the culture of faith (intuition). The provincial Russian town is correlated with the view of St. Petersburg in V. Toporov’s ‘Petersburg text’ due to its particular and distinguishable influence on outer visitors: the town imposes on Lubov its rules, affecting her present life not only materially but most of all spiritually. Besides, the consecutive analyses allow to draw an analogy between Lubov and Dostoevsky’s meek heroines. Like the ‘humiliated and insulted’ women of the author of Crime and punishment, the former opera singer enters the path of suffering and self-sacrifice to completely abandon her own self.
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„...i o niczym nie myśli”. Dramaturgia pustki Pawła Priażki

86%
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.
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Поэтика драмы Наталии Мошиной

72%
Головчинер В., Сумина Е., Томский государственный педагогический университет К. л.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2015
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vol. 08
RU
Статья знакомит с поэтикой русского драматурга, автора девяти пьес, написанных в 2004–2011 гг. и еще не исследованных. Анализ двух из них ("Треугольник" и "Под небесами") на фоне других позволяет думать о том, что современная драма характеризуется не только раз- рывом с опытом предшественников в провокациях «новой драмы». Н. Мошина представлена как талантливый драматург, развивающий потенциал интеллектуальной, эпической драмы ХХ века в парадигмах новейшей неклассической поэтики.
EN
The paper surveys the work of the Russian playwright, author of nine dramas, written in 2004–2011 and not subjected to research yet. Two of the plays ("A Triangle" and "Under Heavens") are analysed and also compared with others. This makes possible the conclusion that the modern drama is characterized not only by breaking off with the experience of the predecessors, manifest in post-modernist provocations of „the new drama”. Natalia Moshina is presented as a talented playwright developing the potential of the intellectual, epic drama of the 20th century within the paradigm of the latest non-classical poetics.
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Pierwiastek ironiczny w dramaturgii Oli Muchiny

58%
Charko-Klekot P.
Przegląd Rusycystyczny
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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.
9
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Жанровое своеобразие пьесы Ю. Клавдиева „Победоносец”

58%
Сафаргалеева Е.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2019
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issue 12
131-140
EN
The article discusses the work of one of the most outstanding and original representatives of the “New Drama”, the playwright Yuri Klavdiev (born in 1974). At the most recent stage of his creative work, the author shows interest in canonical genres, in particular, he refers to the medieval genre of the “miracle play”. His drama Pobedonosets [The Victorious One] (2015) is based on the artistic principles and poetics of the genre. The article analyzes the play taking into account the characteristics of the miracle, indicating the influence of the genre on the structure and main idea of the play, as well as on the perception of the work by the reader/viewer.
RU
В статье рассматривается творчество одного из самых ярких и самобытных представителей «Новой Драмы» – драматурга Юрия Клавдиева (р. 1974). На позднем этапе творчества автор проявляет интерес к каноническим жанрам, в частности обращается к средневековому жанру «миракль», художественные принципы и поэтику которого он кладет в основу своей пьесы Победоносец [The Victorious One] (2015). В статье проводится анализ пьесы с учетом особенностей жанра «миракль», рассказывается о его влиянии на структуру и основную идею драматического произведения, а также на его восприятие читателем/зрителем.
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Politikum a privatum O podobách ruskej dokumentárnej drámy

58%
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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WSPÓŁCZESNY DRAMAT UKRAIŃSKI WOBEC WOJNY: NA PRZYKŁADZIE SZTUKI NATALII WOROŻBYT ZŁE DROGI

44%
MOSKWIN A.
Studia Ukrainica Posnaniensia
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2020
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vol. 8
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issue 2
187-201
UK
Предметом дослідження є драма української авторки Наталії Ворожбит Погані дороги (2017). Письменниця є представником “нової драми” в Україні. Текст був написаний на замовлення театру Royal Court (Лондон). Він також був поставлений у Києві (Scena 6) та отримав нагороду за „Найкращу режисуру” (Тамара Трунова, фестиваль GRA, 2019). Дія драми відбувається під час війни на сході України, у 2014–2016 роках. Письменниця відвідала ці райони і зробила багато інтерв’ю. У Поганих дорогах Н. Ворожбит акцентує увагу не на війні, а на катастрофічному впливі війни на повсякденні сфери життя. Авторка цікавиться, як війна спотворює людський менталітет і психіку, як вона впливає на міжособистісні взаємини в нових умовах, спричиняє бажання нашкодити близьким і невідомим людям та як це відбивається на інтимних стосунках. У цій драмі важливу роль відіграють жінки й такі аспекти, як кохання, секс, еротика та почуття. Автор публікації акцентує увагу на трьох найважливіших проблемах, порушених у тексті: насильствo, травма та творення героя (спочатку прославлення, а потімдегероїзація).
EN
The subject of this study is the play Bad roads (2017) written by the Ukrainian playwright Natalya Vorozhbit. The text was commissioned by the Royal Court Theatre (London). It was also staged in Kiev and received the award for “Best Direction” (Tamara Trunova, GRA Festival, 2019). The action in the drama takes place during the war in eastern Ukraine in 2014-2016. The writer visited these areas and conducted many interviews. In Bad roads N. Vorozhbit focuses not on warfare but on the catastrophic impact of war on everyday life. The author is interested in how war damages the human mentality and psyche, how it influences building interpersonal relationships in new conditions, how war produces the desire to hurt people close to us, as well as unfamiliar ones, and how it affects the formation of intimate relationships. It is significant that an important role in the drama was intended for women and aspects such as love, sex and erotic feelings. The author of the publication focuses on the three most important problems raised in the text: violence, trauma and the creation of a hero (first glorification and then de-heroisation).
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