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﻿ ID: 20304
Title of the work: The main directions in the theatrical art of the XX century
Category: Report
Subject area: Cultural studies and Art criticism
Description: the theater of capitalist countries is the arena of the most acute ideological struggle.
Theatrical art reflects the complex historical social changes taking place in the world.
The Great October Socialist Revolution the formation of the first Soviet state in the world and after the Second World War and other socialist states had a significant impact on the development of the theater of capitalist countries.
Language: Russian
Date added: 2013-07-25
File size: 167 KB
The work was downloaded: 76 people.
The main directions in the theatrical art of the XX century.
Throughout the XX century, the theater of capitalist countries was the arena of the most acute ideological struggle.
Theatrical art reflects the complex historical and social changes taking place in the world.
The Great October Socialist Revolution, the formation of the world's first Soviet state, and after the Second World War, other socialist states had a significant impact on the development of the theater of capitalist countries.
In the theatrical art, there is a struggle for new forms of realism, for the rapprochement of advanced theatrical creativity with the audience.
At the same time, the acute crisis of the world capitalist system generates diverse phenomena of modernism.
Theater of the XX century.
- a laboratory of bright, contradictory searches and discoveries in directing.
It is the director, as an organizing creative force, who now occupies a leading place in the theatrical process.
At the end of the XIX century, the directorial searches of Andre Antoine in France, Otto Bram in Germany, Thomas Jacob Grein in England were associated with the assertion of the principles of the realistic school on the stage (see the article "Theater of the XIX century. in Europe").
They served as an impetus for the emergence of a symbolic theater that is opposite in its aesthetics.
The French symbolist poet Paul Faure organized an "Art Theater" in Paris (1890), which existed for about three years.
One of its participants — Lunier Poe created the theater " Creativity "(1893), proclaiming the conditional"Theater of the Poet".
He suggested that the actor abandon the psychological and social concreteness of the stage image, attached special importance to the melody of poetic speech.
A prominent figure of the symbolic theater, the English actor, director and artist Gordon Craig (1872 — 1966) asserted the absolute autocracy of the director.
Craig's dream was to replace the actor with a mask, a "super puppet", free from ordinary human emotions.
A notable contribution to the development of theatrical culture of the XX century.
it was introduced by the German director Max Reinhardt (1873-1943).
He enriched it with expressive means of music, sculpture, painting.
Actor Alexander Moisei (1880 — 1935) created emotionally rich, sublime images of Hamlet, Romeo, Marquis Poses under the direction of Reinhardt.
Two trends in the European theater of the beginning of the century had a significant impact on the progressive theater of the subsequent time.
The idea of a heroic folk theater, capable of deeply exciting the broad audience and encouraging them to act, formed the basis of the theatrical aesthetics of the French writer Romain Rolland.
His plays "Wolves", "The Game of Love and Death" were staged by amateur theaters in the working class suburbs of Paris.
At the same time, "peasant theaters" appeared, reflecting the "movement of the theater to the people".
The performances were played out in the open air.
The birthplace of the second progressive direction was England.
Bernard Shaw (see vol.11 DE, article "Bernard Shaw") and actor, director and playwright Harley Grenville Barker (1877 — 1946) took an active part in the formation of the intellectual theater.
The Royal Court Theatre in London has become an arena of struggle for innovative drama and stage art.
Grenville Barker has directed a number of plays by Ibsen, Maeterlinck, Shaw, Galsworthy.
Shaw stood for the theater of acute journalistic thought, for the art of such an actor, in which the speaker and the artist would be united in one person.
Among the playwrights, one of the central places is occupied by the Italian Luigi Pirandello (1867 — 1936).
Pirandello's philosophical dramas reflected the contradictions between reality and personality in bourgeois society, as well as the theme of flight, of a person into the world of ghostly illusions.
In the 20s, expressionism occupied a significant place in the European theater, reflecting the spiritual crisis of the time.
The most mature works of the German expressionists contained a polemic with the ideology of militarism and nationalism, denounced petty bourgeois complacency.
In 1920, the "Proletarian Theater" by Erwin Piscator (1893 — 1966) opened in Berlin, where the play "The Day of Russia" was staged, calling for support for Soviet Russia.
The theater found a warm response in the hearts of working class viewers.
Later, forced to emigrate from fascist Germany, Piscator continued to fight against fascism and militarism.
Piscator sought to show various social phenomena on the stage, and this brought to life new staging techniques.
He introduced newsreels, photomontage into performances, used all kinds of structures — moving tracks, a segment stage, etc.
In the 20s, one of the most important directors, playwrights and theater theorists of the XX century worked in Germany, and then in exile.
—Bertolt Brecht.
His plays occupy an important place in the repertoire of European and Soviet theaters (see the article "Theater of the countries of Socialism"),
In the 20 — 30s, the activity of progressive directors of France is noticeably intensified.
National theaters are being created.
The largest of them is the National People's Theater (TNP), created in 1920 by the Brand Zhemye (1869-1933).
Zhemye dreamed of staging mass folk performances of spectacles here.
The theater "Vieux Colombier" was opened by Jacques Copeau (1879-1949).
He combined in his work loyalty to the traditions of the past with innovative experiments.
Jean Vilard and Gerard Philip in Corneille's tragedy "Cid".
The National People's Theater (TNP).
Four theaters — "Athenaeum" by Louis Jouvet, "Montparnasse" by Gaston Baty, "Mathurin" by Georges and Lyudmila Pitoev and "Atelier" by Charles Dullin formed the so called "Cartel"in 1926.
Pitoev staged plays by Shaw, Ibsen, and Pirandello on the stage of his theater.
He discovered Chekhov for Parisians.
Among his best performances are Shaw's "Saint Joanna" (1925), Chekhov's "Three Sisters" (1929).
Students of Dullin, an outstanding theater teacher who studied Stanislavsky's works on acting, were Jean Louis Barraud, Jean Vilar and others.
The creative achievements of Stanislavsky and other major figures of the Soviet theater had a noticeable impact on progressive foreign actors, directors, and theater artists.
In the English and especially American drama of the 30s, social problems occupy a significant place.
The largest US drama writer Eugene O'Neill, as well as playwrights Lillian Helman and Clifford Odets raised complex issues related to the fate of the post war generation in their works.
The tragic conflicts of the characters with bourgeois reality are the basis of O'Neill's dramas "The Shaggy Monkey", "Love under the Elms".
The plays about the bourgeois intellectuals of the 30 — 40s by the English writer D. B. Priestley ("A Dangerous Turn", etc.) are bleak in their psychological content.
The fight against fascism united the progressive forces of the world, united the leading figures of the theater of European countries.
An act of civil courage was, for example, the production of the French Director andré Barsac plays, Anouilh's "Antigone" in Nazi occupied Paris (1943).
Active influence on his contemporaries had another play by French playwright Jean Paul Sartre's "the Flies", the hero of which took the decision to exempt the citizens from the tyranny of a ruler, to deliver them from fear and resignation.
Salakru's heroic drama "Nights of Anger" (1946) is dedicated to the Resistance Movement.
In the future, deep ideological and creative contradictions appeared in the works of Anuya, Salakru, Sartre.
After the Second World War, the struggle between realistic, democratic art and various manifestations of bourgeois art acquires a special tension.
In this struggle, the forces of advanced progressive artists whose work serves the people are growing stronger.
He joined the National People's Theater of France (TNP)in 1951Jean Vilar (1912 — 1971) nominated this theater among the best theaters in the country.
A master of innovative interpretation of classics, Vilar also staged contemporary authors.
The classical repertoire of the TNP includes" Cid "by Corneille, "Mary Tudor" by Hugo, plays by Moliere, "Macbeth " and" Richard II " by Shakespeare," The Death of Danton " by Buchner .
At the same time, Vilar staged works by Brecht and Sean O'Casey in a sharp journalistic manner.
Vilar is one of the brightest actors of the French stage of the XX century, who had the gift of the most subtle intellectual analysis of images, a satirist and a poet.
Among his roles are the devastated cynic Don Juan Moliere, the predatory Mercadet (Balzac's "Businessman").
The festivals organized by Vilar in Avignon have become widely known in France.
The movement of folk theaters, pursuing mainly educational goals, covered the whole of Europe.
The "Piccolo Teatro" in Milan by Giorgio Strelera, which opened with the play "At the Bottom" by Gorky, became very famous.
In England, under the direction of Joan Littlewood, the Workshop Theater appeared.
The theater of Eduard De Philippa (b.1900) in Naples enjoyed well deserved respect among the audience of Italy.
His plays about the ordinary people of Italy, their troubles and joys touched on important social and moral issues.
A wonderful actor and director, Eduardo De Filippo created bright, memorable images in his plays Gennaro ("Naples the city of millionaires"), Alberto Stillano ("My Family"), Domenico Soriano ("Filumena Marturano").
On May 8, 1956, the premiere of John Osborne's drama "Look Back in Anger" took place at the Royal Court Theater in London.
Jimmy Porter came on the scene — a young "angry" hero, as critics called him, This young man from the bottom, who had made his way into a hostile social environment, had little idea what a decent existence was.
He took up arms, sparing no effort, against existing moral values, the traditional way of social life, and partly against social laws.
These same features distinguish some of the characters, both modern and historical, in the plays of John Arden, Sheila Delaney and others.
The tragedy of man in bourgeois society is revealed in plays by American playwrights 40 — 50 years — Tennessee Williams ("the Glass menagerie", "a Streetcar named Desire), Arthur Miller ("All my sons", "death of a salesman", "the view from the bridge"), in the works of Eugene O'neill ("Long day's journey into night, a Moon for the stepchildren of fate").
Deep tragedy filled with plays by Williams, the American Director Elia Kazan.
The productions of Williams ' plays by the American director Elia Kazan are filled with deep tragedy.
Tragicomedies, tragifarses are many plays by Swiss authors — Max Frisch and Friedrich Durrenmatt, imbued with anti fascist, anti bourgeois tendencies.
If progressive theater figures strive to get closer to the general audience, then modernist formalist art focuses only on a select audience.
In France, in the 50 — 60s, the so called "theater of the absurd"became widespread.
The ideologists of this theater claim that human life has no meaning.
The central motif of the drama of the "theater of the absurd" is death and the fear of it.
The "Theater of the Absurd" refuses dramatic characters, demonstrates the painful deformities of modern bourgeois society.
The skills of progressive actors and directors of capitalist countries are being improved on the classical dramaturgical material, on the best examples of realistic literature.
They use the classics to pose acute modern problems.
They use the classics to pose acute modern problems.
The English actor Laurence Olivier (b. 1907) in the image of Othello conveyed an angry protest against the nascent bourgeois civilization.
Hamlet served Paul Schofield (b. 1922) to express the sad, difficult thoughts of the young post war generation of European intellectuals who felt their responsibility for the crimes committed in the world.
A little earlier, a completely different, lonely, painfully sensitive Hamlet by the French actor Jean Louis Barr (b. 1910) called on his contemporaries to persevere, to heroically defend the high ideals of humanity in the face of violence.
Poetic images were created in classical plays by the French actor Gerard Philip (1922-1959).
The performances of Shakespeare's plays by the English director Peter Brook (b.1925) enjoy deserved success among the audience.
In the 60 — 70s, the dramaturgy of Chekhov and Gorky received an interesting, peculiar interpretation on the stages of some Western European theaters.
Laurence Olivier as Richard III.
"Richard III" by W. Shakespeare.
The theatrical art of the capitalist countries of recent times is characterized by a lot of small professional, semi professional and non professional troupes wandering from one locality to another; the activation of student theaters; the growing protest of actors and directors against commerce in art.
Often, the young people of the West use the stage stages for sharp political discussions.
The theater goes to the streets, where semi improvisational performances are played out.
Eduardo De Filippo in the play "The Mayor of the Sanita district".
The Eduardo De Filippo Theater.
Naples.
Almost every phenomenon of theatrical creativity in capitalist countries today is permeated with cruel internal contradictions, conceals a clash of opposing ideological and aesthetic tendencies.
The influence of the art of socialist realism is increasingly felt in the activities of progressive artists today.
Tours of the best Soviet theaters abroad, staging of Russian classical and Soviet plays on the stages of Western European theaters are of great importance.
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