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Born from the spirit of movement. Aleksandr Tairov's Chamber Theatre in Moscow in an area of tension between Russia and the West

源于运动精神。

基本信息

批准号：
314751540
负责人：
Privatdozentin Dr. Swetlana Lukanitschewa
金额：
--
依托单位：
Institut für Theaterwissenschaft
依托单位国家：
德国
项目类别：
Research Grants
财政年份：
2016
资助国家：
德国
起止时间：
2015-12-31 至 2018-12-31
项目状态：
已结题

来源：
https://gepris.dfg.de/gepris/projekt/314751540?language=en
关键词：
Born spirit movement.Aleksandr Tairov

项目摘要

The aim of this project is todescribe and analyse for the first time Aleksandr Tairov's (1885-1950) Chamber Theatre in Moscow - an Russian avant-garde stage hailed in Germany in the 1920s as stimulating and "unleashed" - with regard to its specific form and aesthetics. The focus of this analysis will be on the scenic representation of Tairov's concept of the "synthetic" actor, a virtuoso comedian who can appear on the stage as tragedian, dancer, acrobat, clown, and singer. Since Tairov considered pantomime as the most important of all theatrical genres, and as he sought to approximate his actors to ballet dancers, in whose mastery of technique and physical expressiveness he saw an ideal, a particular emphasis of the study will be on body images in Tairov's productions.The intention is to produce a study with two parts, examining the period between 1914 and 1949. The first part will focus on Tairov¿s productions in the time between the founding of his theatre in 1914 and the year 1934, when "socialist realism" was declared the official artistic doctrine in the Soviet Union, bringing into line all cultural activities. Particular attention will be paid to the Chamber Theatre's three extended tours through Germany, France, and other European countries in 1923, 1925, and 1930, and the reception of Tairov's productions in the West. The subject of the second part of the study will be Tairov's work as a director after 1934, until the closing of the theatre in 1949. One aim here is to show how Tairov's model of the "synthetic" actor changed over time, influenced by developments in domestic and foreign affairs. A discourse analytical approach will be used to put Tairov's acting theories as well as his views on bodily and spatial aesthetics in relation to the concepts developed by his Western European and Russian contemporaries such as Georg Fuchs, Gordon Craig, Max Reinhardt, Rudolf von Laban, Vsevolod Mejerchol'd, and Nikolai Evreinov. The project aims at making Tairov's ideas accessible forscholarship and theatrical practice and enlarging our present picture of the Russian theatrical landscape in the 1920s, 1930s, and 1940s through an examination of an extensive collection of archival material, which has never been subject to close analysis before and which is as yet unknown in Germany.

这个项目的目的是第一次描述和分析亚历山大·塔伊罗夫(1885-1950)在莫斯科的室内剧院--这是一个在20世纪20年代在德国被誉为刺激和“释放”的俄罗斯前卫舞台--关于它的具体形式和美学。这一分析的重点将集中在塔伊罗夫对合成演员概念的场景呈现上，合成演员是一位可以以悲剧演员、舞者、杂技演员、小丑和歌手的身份出现在舞台上的技艺精湛的喜剧演员。由于泰罗夫认为哑剧是所有戏剧类型中最重要的，而且他试图将他的演员近似为芭蕾舞演员，他认为芭蕾舞演员对技术和身体表现力的掌握是理想的，因此研究的重点将是泰罗夫作品中的身体形象。其目的是产生一项分两部分的研究，考察1914年至1949年期间。第一部分将关注泰罗夫·S在1914年至1934年期间的创作。1934年，苏联宣布“社会主义现实主义”为官方艺术学说，将所有的文化活动纳入其中。将特别关注室内剧场1923年、1925年和1930年在德国、法国和其他欧洲国家的三次延长巡演，以及塔伊罗夫的作品在西方的接待情况。第二部分研究的主题将是塔伊罗夫在1934年之后的导演工作，直到1949年剧院关闭。这里的一个目的是展示塔伊罗夫的“合成”演员模型是如何随着时间的推移而变化的，受到国内外事务发展的影响。将使用话语分析的方法，将塔伊罗夫的表演理论以及他对身体和空间美学的观点与他的西欧和俄罗斯同时代人如格奥尔格·富克斯、戈登·克雷格、马克斯·莱因哈特、鲁道夫·冯·拉班、Vsevolod MeJerchol‘d和尼古拉·埃夫里诺夫发展起来的概念联系起来。该项目旨在使塔伊罗夫的思想可供学术和戏剧实践使用，并通过对大量档案材料的研究，扩大我们目前对20世纪20年代、30年代和40年代俄罗斯戏剧景观的看法，这些材料以前从未受到密切分析，在德国也是未知的。