Политический вербатим в современной русской драматургии

Elena Kurant
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引用次数: 0

Abstract

The aim of this paper it to discuss the techniques employed in modern political Russian verbatim drama, as well as in their performances. Modern verbatim drama seeks to stay relevant and up-to-date by referring to taboos, radical social controversies, and political incidents. So, it becomes an important event of not only cultural but also social life, and it exerts a strong impact onmodern Russian society. The aesthetics of the modern verbatim drama is aimed at representing the reality which is absent from official discourse. Such texts as One hour eighteen minutes by Elena Gremina, Three quarters of sadness (Bolotnaya square case) by Polina Borodina, The last party by Anna Dobrovolskaya, and New Antigone by Elena Kostyuchenko openly explore the issues whichdo not function as part of the public discourse. Thus, they capture the traumatic experiences in order to overcome traumas. These texts take the traumatic events of current political and public life out of the marginal area, and they acquire the status of social statements which give hope for political and social changes, and give rise to unofficial discourse allowing the readers as well as the viewers to define their own opinion related to the traumatizing events.
现代俄罗斯戏剧中的政治Verbatim
本文的目的是探讨现代政治俄语逐字剧及其表演中所使用的技巧。现代逐字戏剧通过引用禁忌、激进的社会争议和政治事件来保持相关性和与时俱进。因此,它不仅成为文化生活的重要事件,而且成为社会生活的重要事件,并对现代俄罗斯社会产生了强烈的影响。现代逐字剧的美学目的在于再现官方话语所缺失的现实。埃琳娜·格雷米纳的《一小时十八分钟》、波琳娜·博罗迪纳的《四分之三的悲伤》、安娜·多布罗沃斯卡娅的《最后的派对》和埃琳娜·科斯秋琴科的《新安提戈涅》等文本公开探讨了那些不属于公共话语的问题。因此,他们捕捉创伤经历是为了克服创伤。这些文本将当前政治和公共生活中的创伤性事件从边缘地带带了出来,它们获得了社会陈述的地位,给政治和社会变革带来了希望,并产生了非官方话语,让读者和观众能够定义自己对创伤性事件的看法。
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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审稿时长
36 weeks
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