title: The Formation of the Visual Theatre Aesthetics: Theater Practice and Experiments of the Russian Avant-garde in the 1900–1930s
metadata.name: dc.contributor.author
metadata.value: Spasskaia, Margarita A.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2018-12-19T08:53:19Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2018-12-19T08:53:19Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2018-12
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Spasskaia, Margarita. “The Formation of the Visual Theatre Aesthetics: Theater Practice and Experiments of the Russian Avant-garde in 1900–1930s”. Vestnik of Saint Petersburg University. Arts 8, no. 4 (2018): 593–604.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: 10.21638/spbu15.2018.404
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/15161
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The visual theater is now rapidly developing on the Russian stage. In such performances the director,
  like an artist creates visibly embodied poetic images in the theater space and uses an actor
  as an element of the stage composition. The works of “visualists” — R. Wilson, R. Castellucci,
  J. Nadj, D. Krymov, “Engineering Theater AKHE”, etc. — clearly demonstrate one of the defining
  trends of contemporary theatre: the transfer of effective activity from the verbal component to
  the visual elements. However, despite the seeming novelty of techniques, the ideas developed by
  modern directors in the visual theatre often turn out to be high-tech, but quite logical continuation
  of theatre and artistic avant-garde experiments of the 1900–1930s. That was the time when
  artists and directors began to explore intensively each other’s possibilities and started to move towards
  each other. In the article the development of approaches to work with visual imagery as a
  sense-making element of the performance is explored on the example of performances staged by
  V. Meyerhold, A. Tairov, E. G. Craig (“Hamlet” in the Moscow Art Theatre, 1909–1911) etc. On
  the example of theoretical works and scenic experiments of V. Kandinsky, K. Malevich, V. Tatlin
  etc., it is studied how the Russian avant-garde started to bring under theatrical techniques. The
  author analyzes the process of mutual influence between the theater and fine arts at the beginning
  of the 20th century and establishes parallels between experiments of the 1900–1930s and
  the main aesthetic conventions of modern visual theater.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: en
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Arts;Volume 8; Issue 4
metadata.lang: -
metadata.name: dc.subject
metadata.value: visual theater
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: visual arts
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: avant-garde
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: futurism
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: performance art
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: V. Meyerhold
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: V. Kandinsky
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: K. Malevich
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: The Formation of the Visual Theatre Aesthetics: Theater Practice and Experiments of the Russian Avant-garde in the 1900–1930s
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 04-Spasskaya.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/15161/1/04-Spasskaya.pdf
resources.format: Adobe PDF
resources.size: 650,8 kB