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Authors

Yury Vasiljev PhD (Arts), professor, Dept. of Stage Voice and Speech, St. Peters- burg State Theatre Arts Academy.Contacts : e-mail [email protected]

Polina Malakhova doctorant student, Dept. of Foreign Art Studies, St. Peters-burg State Theatre Arts Academy.Contacts : e-mail [email protected]

Olga Maltseva Dr. Sc. (Arts), professor, Dept. of Russian Theatre Studies,St. Peters burg State Theatre Arts Academy; senior researcher, Russian Instituteof History of the Arts.Contacts : e-mail [email protected]

Anna Nekrylova PhD (Arts), professor, Dept. of Directing and Acting inPuppet Theatre, St. Petersburg State Theatre Arts Academy.Contacts : e-mail [email protected]

Nikolai Pesochinsky PhD (Arts), associate professor, Dept. of Russian TheatreStudies, St. Petersburg State Theatre Arts Academy.Contacts : e-mail [email protected]

Natalia Prokopova PhD (Arts), Dr. Sc. (Culturology), professor, Dept. ofCulture and Speech Art, Head of the Laboratory of Theory and Methodologyof Art Studies, Head of Theatre Institute at Kemerovo State University of Cultureand Arts.Contacts : e-mail [email protected]

Tatyana Tkach senior lecturer, Dept. of Russian Theatre Studies, St. PetersburgState Theatre Arts Academy.Contacts: e-mail [email protected]

Anna Ulianova PhD (Arts), associate professor, Dept. of Foreign Art Studies,St. Petersburg State Theatre Arts Academy.Contacts : e-mail [email protected]

Veniamin Filshtinsky professor, Head of Dept. of Acting, St. Petersburg StateTheatre Arts Academy.Contacts : e-mail [email protected]

Sergei Tcherkasski Dr. Sc. (Arts), professor, Head of Studio of Acting, St. Peters-burg State Theatre Arts Academy.Contacts: e-mail [email protected]

Vita Chushkina doctorant student, Dept. of Russian Theatre Studies, St. Peters-burg State theatre Arts Academy.Contacts : e-mail [email protected]

Andrey Yuriev PhD (Arts), professor, Dept. of Foreign Arts Studies, St. Peters-burg State Theatre Arts Academy.Contacts : e-mail [email protected]

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Summary

Sergei TcherkasskiTwofaced Giovanni Grasso and his Great Spectators, or What Stanislavsky,Meyerhold and Strasberg Actually Stole from the Sicilian ActorThe article discusses the problem of the origins of new theatrical systems andanalyzes how the same theatrical phenomenon viewed from different perspectivescan serve as the basis for different acting techniques. Giovanni Grassos actinginspired representatives of different theatre schools: not by chance do we findhis name in the texts on the Stanislavsky System, Meyerholds Biomechanics,and the Method of Strasberg. The author also draws on his own experience astheatre practitioner. The inclusion in the sources about Grasso of the story byIsaac Babel allows us to look at these methodological problems of acting withsome humor.Key words: Giovanni Grasso, Stanislavsky, Meyerhold, Strasberg, acting,

theatre training, Biomechanics, the Stanislavsky System,the Method.

Anna UlianovaMy Japanese: Adolf Appia about the tour of the Sada YakkoInvestigators of Adolph Appias creativity have never recognized him as aworshipper of an Oriental art. This article is dedicated to the rare case ofexpressing him such an interest. The case is the Sada Yakkos performance thathas been watched by Appia with this artists specific point of view.Key words: Adolph Appia, Oriental theatre, Sada Yakko

Anna NekrylovaMystery of the ending of Petrushka puppet comedyRussian folk comedy for puppet theatre Petrushka has the controversial ending.

The final adventures of the main character evoked plenty of interpretations andmiscellaneous questions. The scholars attempt is to clarify the origin of thecomponents of the play ending that may be found in a broad culture context inwhich this comedy occupies its own special place. From different sources themotives, plots, images and comic devices were taken and transformed in ownway. Special attention is drawn to the supernatural creature that takes Petrushkabeyond the curtain that signifies the farcical ending of the show. Among thesources we may notice influence of Medieval theatre, apocalyptical manuscripts,lubok primitivist painting. Among other sources discussed are folk believesand superstitions, symbolism of laughter and of fights in the system of thetraditional world outlook.Key words: folk theatre, folk puppet comedy of Petrushka, structure,

components, comedy ending.

Vita ChushkinaSeagull by Chekhov in Russian BalletStaging of the story of the play in dance seemed impossible to the ballettheoretician Poel Karp back in 1960s. Nevertheless in 1980 Maya Plisetskayahas introduced this performance. After quarter of a century other choreographersapproached this play during the two years period from 2006 to 2008: AlexanderPepelyaev, John Neumeuer and Boris Eifman. Analysis of these four performancesrepresents wide range of the aesthetical platforms of the choreographers as thediversity of the approaches to the same material of the play through dance andmovement.

Key words: The Seagull, ballet, interpretation of drama in dance,Poel Karp, John Neumeuer, Boris Eifman, Maya Plisetskaya,Rodion Shchedrin, Alexander Pepelyaev.

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Contemporary theatre makers on the new drama of the edge of the 19 th and20th centuriesPublication of discussion, edited by Tatyana Tkach and Andrey YurievDiscussion with theatre makers of Russian theatre on the new drama revealtendencies, problems and development of contemporary art that is involved incomplicated communication with classic tradition.Key words: new drama, Grigory Dityatkovsky, Valery Galendeyev,

Grigory Kozlov, Sergei Kuryshev, Rymas Tuminas,Gerhart Hauptmann, Henrik Ibsen, August Strindberg,Anton Chekhov, Bernard Shaw.

Olga MaltsevaLet us come back to the Yury Lyubimovs performancesAbout the analogy between the composition of the Yury Lyubimovs performanceSouf( f )le (Taganka Theatre, 2005) and the laws of musical form.The research is focused on analysis of the Yury Lyubimovs performance Souf( f )le.It is shown that the structure of dramatic action is based on the principles ofmusical composition.Key words: Taganka Theatre, Yury Lyubimov, directing art,

composition of performance.

Natalia ProkopovaArt of Speech in Theatre Avant-Garde: Beginning of the 21 st Century(Performance FuturismZrim )In the article the verbal art of theatrical avant-garde at the beginning of the 21stcentury. Methodological basis of the article is a cultural-historical approach tothe analysis of the speech art. Speech art is considered on the play futurizmZrimas a part of the artistic trend in art, as a culture representative. The authordemonstrates that the effect of artistic value is the result of the use of expressivemeans, correlated simultaneous with the classical and contemporary experiencesin the theatre.Key words: speech arts, vocal art of the theatrical avant-garde,

contamination, modification, direction of speech art,performance, art value, signs of speech art patterns

Polina MalakhovaHenrik Ibsens Rosmersholm in the Stage Interpretation of Edward GordonCraig and Eleonora Duse

The article explores the Florentine performance Rosmersholm (1906) whichbecame the only joint artistic work of the great Italian actress Eleonora Duseand the outstanding English senographer and stage director Edward GordonCraig. The author analyses Craigs conception and his influence upon the actress.The article includes new materials which have not been used in Russian theaterstudies before.Key words: Henrik Ibsen, Rosmersholm, Edward Gordon Craig,

Eleonora Duse.

Nikolai PesochinskyThe Master and His House70th anniversary of Lev Dodin

Marking the anniversary of great contemporary director Lev Dodin this is hisshort biography that is based on personal impressions by theatre critic of hiscareer through decades since 1970s till nowadays. Dodin is presented as the

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creator of Maly Drama theatre Theatre of Europe in St. Petersburg, as theteacher of actors and directors, as the author of many outstanding productionsin several artistic styles.Key words: directing, Maly Drama Theatre, contemporary drama,

actors training, Soviet theatre.

Veniamin FilshtinskyWhat Seems Important TodayTheatre director and teacher of acting reveals his vision of the nature of actingas playing and not playing in theatre, of the essence of action of performeron stage. What is the way to reach artistic, intellectual, emotional, meaningfullife of the actor on stage through representation of such specific features thedramatic text as its inner poetry, its philosophy, its aesthetic wideness.Key words: theatre pedagogics, place of action, atmosphere of action,

acting art, text of drama, life acting.

Yury VasiljevTraining of Diction and Actors ImprovisationIn discussion of new approaches to improvement of actors diction the authorrefuses of mechanistic devices of activating and pressure on the articulatoryapparatus of the student. Important part in training of voice and speech is givento improvisation, to the movement-and-vocal action and to spontaneous dialogue.Magic of improvisation rules tempo-rhythm, development of intonation of thephrase, dynamics of the speech, inner rhythms, subtexts. The background ofimprovisation is based on creation of tongue-twisters.Key words: diction of drama actor, methodology and pedagogic

of voice and speech class, psychophysiology of speech,

feeling of improvisation, dramatic dialogue, joint training of movement and speech.

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