Главная страница
russian   english
<< back

Title of Article

REPERTOIRE POLICY OF MODERN RUSSIAN THEATERS DURING THE 2018-2019 SEASON


Issue
2
Date
2019

Section
ALGEBRAIC EXAMINATION OF HARMONY

Article type
scientific article
UDC
82.2+792.09
Pages
89-100
Keywords
репертуарная политика, спектакль, современный российский театр, статистический метод исследования, социология литературы, repertoire policy, performance, modern Russian theater, statistical research method, sociology of literature


Authors
Proschin Evgeniy Evgenevich
Natsionalnyy issledovatelskiy Nizhegorodskiygosudarstvennyy universitet im. N.I. Lobachevskogo


Abstract
The author of the article turns to the theater repertoire of the 2018-2019 season, aiming to conduct a statistical study of its features. The choice of the subject of the study is due to the fact that the repertoire policy is formed with regards to the correlation of the aesthetic searches of theatrical groups and public demand, the audience’s expectation horizon. Therefore, even a simple calculation of the total number of literary works, plays which are staged by Russian theaters, makes it possible to present the main trends in the interaction of modern theater and literature. In general, we can come to the conclusion about the undoubted populism that is inherent in the repertoire policy of the vast majority of theaters. Among the most demanded are either the iconic texts (mainly of the 19th - early 20th centuries), or an unpretentious comedy repertoire authored by contemporary playwrights. It is noteworthy that there remains a rather steady interest in the literature of the Soviet period: theaters actively stage plays by authors of this period. Timetested pieces also have their share in the repertoire as the basis of the children's repertoire segment. At the same time, modernserious? literature, with a few exceptions, is not very popular. It is concluded that for the most part Russian theaters pursue a conservative-populist repertoire policy in their appeal to literary pretexts. Moreover, there is a clear difference between the theater centers and the periphery. While the former noticeably incline towards expression of discontent through the selection of a less obvious repertoire, the situation is different with the provincial theaters - the further the theater is removed from the center the less accommodating its repertoire policy is with some clearly being inertly conservative. It seems that such theaters are having difficulty attracting the public and thus are more focused on solving material problems than on the pursuit of aesthetics. Therefore pragmatic tactics in most cases becomes much more important than the aesthetic strategy.

File (in Russian)