Theme of the Issue:
The volume’s theme can be defined as «theatre connections». It is a Central concept for easily prevailed any, including temporal and geographical boundaries, art of theatre that is in constant motion and search for contacts. Intense creative interaction of Russian and English stage artists at the early XX century; the fate of the «Arlecchino», a legendary production by G. Streler, endured during its long history a number of essential changes, directly related to the flow of theatre process; a creative method of I. Bergman in the scope of creativity of inheriting him contemporary Russian playwrights – that is the circle of names, trends, art «roll calls», on the material of which the authors explore the diverse and open nature of the theatre. It is completed with new attitudes of modern researchers on the creative legacy of Vs. Meyerhold (in particular, toward one of his stage masterpieces – «The Forest» based on the play by A. N. Ostrovsky; and toward the plays of Alexander Pushkin, which had not found an adequate stage embodiment for two centuries).
EUROPE FND RUSSIA
Alexey Bartoshevich. Some facts from the history of the Russian-British theatrical contacts in the 1910s.
Baldina Julia. A Giorgio Strehlers’s Harlequin: from Commedia to Metatheatre
Natalia Skorokhod. Ingmar Bergman’s lane in European drama of XX century
Klimova Irina. A Fairgrounds in Netherlands’ paintings of XVI–XVII centuries. Spectacles, entertainments and their public.
Galina Gernovaya. The characters system in Aeschylus late tragedies (Choephoroi)
Susanna Filippova. Belial or humble son? Franz Moor’s character in German theatre productions in XVIII–XIX centuries
Oleg Feldman. Meyerhold rehearses The Suicide
Vadim Shcherbakov. The Forest by Vsevolod Meyerhold. Theatre of embodiment
Anna A. Hlavacova. Thoughts on the possibilities of staging Pushkin’s historical drama Boris Godunov