Виктор Вилисов - Нас всех тошнит [Как театр стал современным, а мы этого не заметили] [litres]
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- Название:Нас всех тошнит [Как театр стал современным, а мы этого не заметили] [litres]
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- Издательство:Литагент АСТ
- Год:2019
- Город:М.
- ISBN:978-5-17-111460-2
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Виктор Вилисов - Нас всех тошнит [Как театр стал современным, а мы этого не заметили] [litres] краткое содержание
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В конце 90-х Угаров был руководителем программы «Моя семья», которую вел Валерий Комиссаров. Одна из рубрик этой передачи, «Маска откровения», вместе с логотипом компании «ВИD» отпечаталась штампом ужаса у молодых людей, росших на этом телевидении. И вот, в спектакле Ивана Комарова по пьесе Натальи Зайцевой «Абьюз», поставленной в Центре им. Мейерхольда в 2017 году, ключевым персонажем является женщина-трикстер-судья, одетая в барочную черно-белую маску, скопированную с маски откровения. Ничего не исчезает и всё возвращается.
Избранная библиография
Книги
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Тексты
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Примечания
1
WILSON, R., BERNSTEIN, C., GOLDBERG, R., GERARD, B., KELLY, R., NEVAREZ, A., . SCHECHNER, R. (2012). BEING CONTEMPORARY. PAJ: A Journal of Performance and Art, 34(1), 93-110.
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Жак Рансьер , «Эмансипированный зритель», Нижний Новгород: Красная ласточка, 2018. – 128 с., ил.
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Lehmann H.-Th. Postdramatisches Theater. Frankfurt a. Main, 2001.
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Фишер-Лихте Э. Эстетика перформативности / Э. Фишер-Лихте. – М., – 374 с.
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Bident Ch. Et le theatre devint post-dramatique – Histoire d’une illusion // Theatre/Public. 2009. № 194. P. 6 76–82.
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Jan Lauwers (2010) ‘Most questions are more interesting than their answers’: Jan Lauwers in conversation 7 with Jérôme Sans, Contemporary Theatre Review, 20:4, 449–454.
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Schechner, R. (2010). The Conservative Avant-Garde. New Literary History, 41(4), 895–913.
9
Emmanuel Négrier . Festivalisation: Patterns and Limits. Festival in Focus, 9p. 2014.
10
Iranian Theatre Festivalized farah yeganeh theatre research international · vol. 30 | no. 3 2005.
11
Temple Hauptfleisch, Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity (May 2006), Cambridge university press.
12
Tyszka, Juliusz. (1997). The School of Being Together: Festivals as National Therapy during the Polish ‘Period of Transition’. New Theatre Quarterly, 13(50).
13
Pedro Manuel , Theatre Without Actors: Rehearsing New Modes of Co-Presence, 2017.
14
Till, Nicholas (2006) Investigating the Entrails: Post-Operatic Music Theatre in Europe. In: Ridout, N. and Kelleher, J. (eds.) Contemporary Theatres in Europe: A Critical Companion. Routledge, pp. 34–46.
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Кисеева Елена Васильевна . «Новые формы музыкального театра: танец постмодерн и его научное осмысление». Южно-Российский музыкальный альманах, no. 1, 2013, стр. 99-107.
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Andre Lepecki , CONCEPT AND PRESENCE: The Contemporary European Dance Scene. Rethinking Dance History: A Reader, edited by Larraine Nicholas, and Geraldine Morris. Routledge, 2013.
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