دانلود کتاب New Drama in Russian: Performance, Politics and Protest in Russia, Ukraine and Belarus

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Cover page\nHalftitle page\nLibrary of Modern Russia\nTitle page\nCopyright page\nContents\nContributors\nAcknowledgements\nA note on transliteration\nIntroduction Recent developments in Russian, Ukrainian and Belarusian drama\n Russia\n Ukraine\n Belarus\n Notes\nPart I Russia\n1 The story of Russian-language drama since 2000 PostDoc, the postdramatic and Teatr Post\n The origins of ‘New Drama’\n Teatr.doc and others\n The manifesto of Teatr.doc and its consequences\n Debates around the ‘postdramatic’\n Konstantin Bogomolov’s writing for the stage\n The outsiders of Teatr Post: Dmitrii Volkostrelovand Pavel Priazhko\n Experimentation under threat\n Notes\n2 Giving testimony in the face of an authoritarian regime\n Notes\n3 From Stalinist Socialist Realism to Putinist Capitalist Realism\n Cultural policy in Russia during the 2010s\n Policy in practice: the case of Kirill Serebrennikov and the theatre\n Conclusion\n Notes\n Bibliography\n4 Conversation with Mikhail Durnenkov and Maria Kroupnik (Liubimovka Festival, Moscow, September 2017)\n Note\n5 ‘Class Act’ in Russia and Ukraine\n ‘Class Act’: historical overview\n Structure and Organization: ‘Class Act’ in Scotland\n The aims, values and creative practices of ‘Class Act’ in Scotland and abroad\n Notes\n6 Conversation with Sasha Denisova (Moscow, October 2013)\n7 Conversation with Ivan Vyrypaev (Moscow, May 2013)\n Note\n8 Absence on Stage in Ivan Vyrypaev’s July\n Notes\n Bibliography\nPart II Ukraine\n9 The watershed year of 2014\n Ukrainian theatre in the 1990s\n Ukrainian drama between the Orange Revolution and the Maidan\n The impact of the Maidan and Russian military expansionism on theatrical production\n The birth of a post-Maidan fringe\n ‘Ukrainian New Drama’\n Conclusion\n Acknowledgements\n Notes\n Bibliography\n10 The playwright overlooked\n Olena Apchel and ‘decolonizing the actor’\n Teatr Lesi\n Bad Roads\n Moscow’s Teatr.doc tour to PostPlay Theatre, November 2018\n Ukrainian independent theatre\n ‘Zaporizhzhian New Drama’\n11 A new ‘dawn’ in Ukrainian theatre\n Note\n12 Stages of change\n Notes\n Bibliography\n13 ‘Ne skvernoslov’, otets moy’ [‘Curse not, my son’]\n Anna Iablonskaia and transnational contexts\n Staging obscenities: The Pagans and the 2014 profanity ban\n Language, religion and authenticity\n Conclusion\n Notes\n14 Natal’ia Vorozhbyt’s Viy\n The cellar scene: locating the Ukrainian subject\n The interrogation scene: autoethnographic storytelling\n Lukas’s return home: intercultural acts of kindness\n Viy in production\n Conclusion\n Notes\n Bibliography\nPart III Belarus\n15 The transformation of the language of ‘New Drama’ in Belarus, as a reflection of a new model of identity\n ‘New Drama’ in Belarus: the early 2000s\n Historical context: language as a political field\n Representation as a way to produce meanings\n Notes\n Bibliography\n16 Conversation with Natalia Koliada, Belarus Free Th eatre (London, March 2019)\n Notes\n17 Pavel Priazhko: the Text as an Instant Photograph (2012); Conversation with Pavel Priazhko (2011); Essay on Pavel Priazhko’s Methods\n Extracts from lecture ‘Pavel Priazhko: the Text as an Instant Photograph’, Minsk, 2 June 2012\n Tania Arcimovich: Conversation with Pavel Priazhko (2011)\n Essay on Pavel Priazhko’s methods\n Notes\n18 The artistic space shared by Eastern Slavs, and the ways in which that is created\n Notes\nConclusion Summer of 2019\n Russia\n Ukraine\n Belarus\n Notes\nRecommended reading\nIndex