Laikmeta komentārs teātra valodā. Latviešu dramaturģija Rīgas Strādnieku teātra repertuārā: modernisma aspekti

Sanita Duka
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Abstract

The repertoire of the Riga Workers’ Theatre (1926–1934) reflected the trends of the time and leftist progressive ideas. City life as a nodal point of modern reality became inspiration and material for plays, poetry performances, dramatised feuilletons and interludes commenting on current events. The aesthetic programme of the theatre envisaged the creation of a peculiar sovereign artistic style, where the new dramaturgy played an important role. Topical and recently created works by contemporary authors were chosen for the repertoire with an emphasis on the search for novelty. In the first years, while the director was Roberts Dukurs, the dramaturge was Jānis Grots, then Arvīds Grigulis; after this function was taken over by the director Kārlis Dziļleja. The article aims to introduce the main principles of the Riga Workers’ Theatre repertoire policy, focusing on an overview of the contributions of Latvian authors. Rainis, Andrejs Upīts, and Pāvils Gruzna played a dominant role in the ideological decisions of the repertoire. A circle of progressive authors gathered around the theatre, creating a contemporary drama laboratory. Young authors Aleksandrs Čaks, Valdis Grēviņš, Fricis Rokpelnis, Jūlijs Vanags, and others experienced their first works on stage in this theatre. The research object is dramaturgical works and testimonies describing the productions – programme leaflets, reviews, reminiscences, etc. The article discusses innovative trends in drama and the expansion of the concept of dramaturgy to the dynamics of stage set, musical and choreographic action. As a result, the consistently executed repertory policy heralded a new type of drama programme by achieving a synthesis of contemporary content and new visual, musical and choreographic forms. The article concludes that creating innovative drama forms and genre experiments on the Riga Workers’ Theatre stage significantly contributed to the development of Latvian dramaturgy.
用戏剧语言评论时代。里加工人剧院剧目中的拉脱维亚戏剧:现代主义的方方面面
里加工人剧院(1926-1934 年)的剧目反映了当时的潮流和左派进步思想。作为现代现实节点的城市生活成为戏剧、诗歌表演、戏剧化长篇小说和评论时事的插曲的灵感和素材。剧院的美学计划旨在创造一种独特的主权艺术风格,其中新的戏剧表演方式发挥了重要作用。剧目选择了当代作家的热门作品和新近创作的作品,强调追求新颖性。最初几年,导演是罗伯茨-杜库尔斯(Roberts Dukurs),剧作家是亚尼斯-格罗茨(Jānis Grots),后来是阿尔维兹-格里古利斯(Arvīds Grigulis);之后,这一职能由导演卡利斯-迪莱亚(Kārlis Dziļleja)接管。文章旨在介绍里加工人剧院剧目政策的主要原则,重点概述拉脱维亚作家的贡献。雷尼斯(Rainis)、安德烈斯-乌皮茨(Andrejs Upīts)和帕维尔斯-格鲁兹纳(Pāvils Gruzna)在剧目的意识形态决策中发挥了主导作用。剧院周围聚集了一批进步作家,形成了一个当代戏剧实验室。年轻作家亚历山大-查克斯(Aleksandrs Čaks)、瓦尔迪斯-格拉维津斯(Valdis Grēviņš)、弗里西斯-罗克佩尔尼斯(Fricis Rokpelnis)、尤里伊斯-瓦纳格斯(Jūlijs Vanags)等人在该剧院经历了他们的第一部舞台作品。研究对象是戏剧作品和描述这些作品的证词--节目单、评论、回忆等。文章讨论了戏剧的创新趋势,以及戏剧概念向舞台布景、音乐和舞蹈动作动态的扩展。因此,一贯执行的剧目政策通过实现当代内容与新的视觉、音乐和舞蹈形式的综合,预示着一种新型的戏剧节目。文章的结论是,在里加工人剧院的舞台上创造创新的戏剧形式和流派实验极大地促进了拉脱维亚戏剧的发展。
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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