Institutional Changes in Contemporary Theatre

E. Dzikevich
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Abstract

Current processes in international theatre practice have been so different in artistic sense that they could hardly be combined in some unity. But there is anothercriterion, not purely artistic, according to which artistically different phenomena of contemporary theatre could be united in wholeness. It is an institutional kind of criterion. Contemporary state of theatre as a kind of art could not be clearly described and then productively investigated without interpretation of those strong and deep transformations that have happened to theatre as a kind of societal institution. The thing is that researchers usually do observe artistic and societal qualities of art separately. Of course, it is one of the results of knowledge coming into depth and getting specialized, but sometimes it seems as if in development of art there were two divided processes – artistic, on the one hand, and societal, on the other hand. In reality, this development is one and whole total process with many various aspects. To keep in mind the unity of artistic and societal transformations of theatrical art is the challenge for methodological discourse within any aesthetic investigation in this field. Institutional theory of art, according to the author’s point of view, is the very case of methodological attitude that allows a researcher stay realistic in relation to the abovementioned unity. There is the key point that demonstrates it – the approach of the institutional theory of art to the problem of psychical distance between performance and spectators, its historical institutionalization in the phenomenon of classical and the following changes within this institutional state that finally brought theatre from classical to non-classical aesthetic regime. Institutional theory looks at this transition as artistic in the inspiriting causes, but societal is focused on fixation of their results. So, this theory allows an aesthetic observer keep the balance on the blade of the artistic and the societal contents of the institutional state of contemporary theatre. This article is the author’s attempt to point out the most significant institutional changes in contemporary theatre.
当代戏剧的制度变迁
目前国际戏剧实践的进程在艺术意义上是如此不同,以至于它们很难结合在一起。但还有另一个标准,不是纯粹的艺术标准,根据这个标准,当代戏剧在艺术上的不同现象可以统一为一个整体。这是一种制度性的标准。如果不解释戏剧作为一种社会机构所发生的那些强烈而深刻的转变,当代戏剧作为一种艺术的状态就不可能被清楚地描述,然后进行富有成效的研究。问题是,研究人员通常会分别观察艺术的艺术品质和社会品质。当然,这是知识深入和专业化的结果之一,但有时似乎在艺术的发展中有两个分裂的过程——一方面是艺术的,另一方面是社会的。实际上,这种发展是一个整体的过程,有许多不同的方面。要记住戏剧艺术的艺术和社会变革的统一性,是在这个领域的任何美学研究中方法论话语的挑战。根据作者的观点,艺术的制度理论是方法论态度的一个例子,它允许研究者在与上述统一的关系中保持现实主义。这里有一个关键点来证明这一点——艺术制度理论对表演和观众之间心理距离问题的方法,它在古典现象中的历史制度化,以及这种制度状态下的变化,最终将戏剧从古典美学政体带到非古典美学政体。制度理论将这种转变看作是艺术上的鼓舞人心的原因,而社会理论则关注于其结果的固定。因此,这一理论允许审美观察者在当代戏剧制度状态的艺术和社会内容的刀刃上保持平衡。这篇文章是作者试图指出当代戏剧中最重要的制度变化。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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