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

这个项目的目的是首次描述和分析亚历山大·塔伊洛夫（1885-1950）在莫斯科的室内剧院——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。本分析的重点将放在Tairov的“合成”演员概念的场景表现上，即可以在舞台上扮演悲剧演员、舞者、杂技演员、小丑和歌手的精湛喜剧演员。由于Tairov认为哑剧是所有戏剧类型中最重要的，并且他试图将他的演员近似于芭蕾舞者，他认为芭蕾舞者对技术和身体表现力的掌握是理想的，因此该研究将特别强调Tairov作品中的身体形象。其目的是制作一份分为两部分的研究报告，考察1914年至1949年之间的时期。第一部分将重点介绍塔伊洛夫在1914年剧院成立至1934年期间的作品。1934年，“社会主义现实主义”被宣布为苏联的官方艺术信条，与所有文化活动保持一致。特别值得关注的是室内乐剧院于1923年、1925年和1930年在德国、法国和其他欧洲国家的三次巡回演出，以及塔伊洛夫的作品在西方的接受情况。研究的第二部分的主题将是1934年之后，直到1949年剧院关闭，Tairov作为导演的作品。这里的一个目的是展示Tairov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。本文将采用话语分析的方法，将Tairov的表演理论以及他对身体和空间美学的看法与西欧和俄罗斯同时代的人（如Georg Fuchs， Gordon Craig, Max Reinhardt, Rudolf von Laban, Vsevolod Mejerchol'd和Nikolai Evreinov）所发展的概念联系起来。该项目旨在使Tairov的思想为学术和戏剧实践所接受，并通过对大量档案材料的研究，扩大我们对20世纪20年代，30年代和40年代俄罗斯戏剧景观的现状，这些档案材料以前从未受到过仔细分析，在德国也是未知的。

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.