Home
 
 
   
 
 
 
NEWS

THEATRE PARTNERS

DOWNLOAD FILE

 

 

 

 

 

NEWSLETTER                     Subscribe     Unsubscribe

 

 

     REPERTOIRESHOWSGOLDEN LIONTHEATRECONTACTHISTORY

PROJECT "XXI CENTURY THEATRE.  EAST MEETS WEST – WEST MEETS EAST"

The recent decade has brought about major changes to theatre in terms of theatrical text, acting, as well as stage practices and techniques. The aim of the international project titled EAST MEETS WEST – WEST MEETS EAST. 21ST-CENTURY THEATRE, which was initiated by the Juliusz Słowacki Theatre in Kraków in 2011, and is to be continued throughout 2013, is to address these changes and to assess the results. Along with the Voskresinnia theatre  nine major European theatres are taking part in the project. One of the project’s important objectives is to find answers to the following questions: Have these changes equally affected theatrical practices in Eastern and Western Europe? How do they relate to regional theatrical traditions?

 

Project Leader:

THE JULIUSZ SLOWACKI THEATRE  (Kraków, Poland)

Partners:

LVIV ACADEMIC THEATRE VOSKRESINNIA (Lviv, Ukraine)
LA ROSE DES VENTS  (Villeneuve d’Ascq, France)
THE MOSCOW SOVREMENNIK THEATRE   (Moscow, Russia)

VOLKSBÜHNE AM ROSA-LUXEMBURG-PLATZ (Berlin, Germany)

THE STATE YOUTH THEATRE  (Vilnius, Lithuania)
ŠVANDOVO THEATRE IN SMÍCHOV ( Prague,  Republika Czech Republic)
PICCOLO TEATRO DI MILLANO - TEATRO D'EUROPA ( Milan, Italy)

THE KYIV ACADEMIC MOLODY THEATRE  (Kyiv, Ukraine)

YEVGENY VAKHTANGOV STATE ACADEMIC THEATRE (Moscow, Russia )

I. AIM OF THE PROJECT

The last decade provided theatre with many innovations, concerned with all basic aspects of stage practice – acting, dramatic text as well as functioning of the stage and stage techniques. These innovations were influenced by many external factors. The factors that are most often mentioned are: a fundamental shift as far as reality perception and comprehension are concerned - the transition from the linear-consecutive model to the simultaneous model with a multi perspective; interference of mass media and technological factors; elimination of boundaries between high and popular art; new styles of reception of theatre work, as well as a diversified group of changes, for the culture and civilization, specific for the post-modern phase.The main aim of this project will be not only noticing the changes and stating their significance for the present state of theatre, but most of all providing a comparison of theatre practice of eastern and western Europe. As a consequence it will provide some multilateral experience sharing opportunities. In particular this project’s goal will be to state whether the transformations apply to both regions equally or there are some differences, based on a different cultural context, different theatre traditions or different dynamics of historical, social, or political changes.What will become significant is – most of all – answering the question about the existence of separate theatre languages/“worlds” of eastern and western Europe. The other possibility would be – as some researchers claim – that also in the theatrical aspect we constitute a “global village”, in which all distinctions and differences of esthetical and cultural codes have long been blurred. Secondly – it will be important to provide an answer to the question whether both of the geographic and cultural areas share the division lines in the sphere of theatre life (i.e. traditional and modern theatre, politically involved and politically indifferent theatre, theatre of “the young” and of “the old”, artistic and popular theatre, etc.).Finally – investigating the trans- and intercultural space with regards to the theatre practice in both regions, that means defining the visible bilateral influences and inspirations or perhaps – to the contrary – autonomies and barriers.

II. PARTICULAR PROBLEMS

Within the project three theme groups will be distinguished, concerning the transformations of the most important aspects of stage practice, mentioned above.

  •  Text in the theatre of the 21st century

  • Histrionic art of the 21st century

  •  Stage and stage techniques in the 21st century

 An outline of the problems:

Ad. 1 The actor in the modern times in view of tradition – an attempt of defining the “traditional” and “modern” acting phenomena (the controversial problem of legitimacy of such a division). Relation between the actor and the spectator – then and now: the stage distance and the “idea of denudation”. Problem of the obscenity limits and their blurring. The performance and performativity influence on the acting techniques (shift from acting to non-acting), new forms of stage actions. Actor’s body and gender as an area for stage experiments. Political and ethical aspects of actor’s transformation and the audience elicitation. Development of the „stand-up” spectacles – the cultural and social causes of the phenomenon. Actors’ education towards the transformations of the theatre of today. Syncretism of the stage expression techniques as a challenge for a contemporary actor. Comparison of the actors’ training methods in artistic schools in the eastern and western Europe.

Ad.2. The present status of the drama text in theatre –consequences of the drama gaining epic characteristics, moving more towards the discourse and relation between the author and audience, disintegration of the language and the traditional drama structure. Formal eclecticism, in style and category of contemporary drama.  Anti-illusionism and anti-mimicry of the latest drama. The influence of video games and RPG on the construction of the world presented in the drama text. New forms of a theatrical text: post-drama and meta-drama. Current conflict drama-theatre in comparison with the traditional drama model (“text on stage”). The consequences of post-drama as an extreme form of theatre moving away from the classical dramatic text (crisis, dramatic plot – fragmentation, ellipticity and discontinuity, hybrid features of drama, breaking of the time and space order, destruction of the stage characters, blurring of boundaries between the forms of monologue and dialogue, etc.) The triumphant return of the “piéce bien faite” as a counterweight for the post-drama – psychosocial and cultural causes of this phenomenon. The condition of the classical text in the latest theatre – the “recycling” and “re-writing” techniques. The “Author’s place in the traditional, post-modern, and post post-modern theatre. New interpretation languages in the drama cannon and their significance for the modern stage practice. The playwright’s function as an intermediary between the drama text and the stage.

 Ad. 3. Stage in the latest theatre – existence and elimination of the so-called “fourth wall” rule. The conventional stage and annexation of the space beyond stage and theatre in a contemporary theatre spectacle. Traditional stage design against present stage design experiments (minimization, “empty stage”, “theatre of light”, “theatre of cinematography”, “concrete theatre”, etc). New (mass) media in theatre – functioning as an inspiration and an integral spectacle element. Multimedia of the modern theatre spectacle – its meaning and causes, for the culture and civilization. New technologies in the stage practice and their influence on the reception of the audience. Theatre as a synthesis of arts – then and now. The contemporary total theatre – its traditions and place in the cultural system.

 

TEXTS IN 21ST-CENTURY THEATRE

Text, event and responsibility in modern theatreThe Juliusz Slowacki Theatre in Krakow                          12 - 14 December,  2011

 INTERNATIONAL CONFERENCE

 The recent decade has brought about major changes to theatre in terms of theatrical text, acting, as well as stage practices and techniques. The aim of the international project titled EAST MEETS WEST – WEST MEETS EAST. 21ST-CENTURY THEATRE, which was initiated by the Juliusz Słowacki Theatre in Kraków in 2011, and is to be continued throughout 2012, is to address these changes and to assess the results.  Along with the  European theatres are taking part in the project. One of the project’s important objectives is to find answers to the following questions: Have these changes equally affected theatrical practices in Eastern and Western Europe? How do they relate to regional theatrical traditions? The first part of the project was focused on the present condition of theatrical text – in particular within the context of such important phenomena in recent years as postdrama, political and performative theatre. During the Conference, we have been discussed the specificity of new forms of drama (in particular postdrama and performance) versus traditional drama, whilst simultaneously attempting to find an answer to the question of whether “classical” text is likely to disappear in view of these new developments.We will also deal with the new concept regarding the political aspects of theatre – i.e. what are the present varieties of political theatre? Another question is: What is the role of text and theatrical event in the political theatre of today?Of equal importance will be the fundamental question about the form of a political text (and spectacle), and, more specifically: What forms of text and theatrical events prove to be the most effective in pursuing broadly understood goals of political theatre? What does responsibility for text and theatrical performance mean today? How does recent political theatre communicate with the audience?The meeting as such was also important for us as an opportunity to interweave theory and practice. This is why the conference programme will include both presentations by experts and brief presentations by people who actually practice theatre – invited guests from Eastern and Western European theatres who deal with these issues on a daily basis in their stage productions.

 
Lanfranco Li Cauli (Head of Cmmunications and Marketing)

Piccolo Teatro di Milano, Mediolan

"The International and Euro-Mediterranean Piccolo Teatro’s experience"  

Ludmila Ostropolskaya (theatre critic and literary manager)

Yevgeny Vakhtangov State Academic Theatre

Role of text in a contemporary drama".

Sabine Zielke  (dramatist)"Text and body in the danger"

Volksbühne am Rosa-Luxemburg- Platz

MexSchlüpfer  (actor)     "The significance  and positioning of the Volksbuehne am Rosa-Luxemburg-Platz in relation to text and language (s) within the theater scene in Germany"

Evgenia Kuznetsova       (kierownik literacki)

The Moscow Sovremennik Thetare, Moscow

Transcription of prose for the stage based on several productions of the theatre “ Sovremennik .

 

Didier Thibaut (Director)

La Rose des Vents (Metropolia Lille)

"Theatre of text, image theater ... an old quarrel between the ancients and the moderns?" Artistic developments of the La Rose des Ventes 1995-2011

Gintė Pranckūnaitė (literary manager

The State Youth Theatre, Vilnius

Public readings of drama: in a search for new texts

Dodo Gombar (director, artistic director)

Svandovo Divadlo na Smichove,  Praga 

"The Journey from Theatre in your mind to the theatre for a mind

Anna Halas (literary editor, theatrologist, drama translator

Lviv Academic Theatre Voskresinnia, Lviv

Bringing forward the unsaid: meaning hidden behind the text (an attempt to explore extra textual manifestations of theatre performance

Anna Burzyńska (literary manager , Head of the Department of Theory of Literature Faculty of Polish Studies, Jagiellonian University, playwright)

The Julius Slowacki Theatre, Krakow

Politics and form in the modern theater

Sergiy Wasiliev (theatre critic and columnist

The Kiev Academic Molody Theatre

 

Theatre  in the absence authorities

 

Workshops leaders :

 

 

 

Stefanie Carp                  (dramatist, Performing Arts Director of the Viener Festwochen)

 

 

 

Nikołaj Kolada                  (playwright, actor, director )

 

Experts:

Małgorzata Sugiera (theatrologist , translator, Head of the  Department of Performance Studies at the Jagiellonian University)

Mateusz Borowski                           (theatrologist , translator, Assistant Professor in the Department of Performance Studies at the Jagiellonian University)

Iwan Vyrypayew               (actor, director, playwright)

Moderators : Paweł Sztarbowski (The Raszewski Theatre Institute  in Warsaw) and Marcin Kościelniak ("Didaskalia").

 Project co-financed by the European Regional Development Fund under the Malopolska Regional Operational Programme, Action 8.2 for 2007 – 2013 years.