Born from the spirit of movement. Aleksandr Tairov's Chamber Theatre in Moscow in an area of tension between Russia and the West

源于运动精神。

基本信息

批准号：
314751540
负责人：
Privatdozentin Dr. Swetlana Lukanitschewa
金额：
--
依托单位：
Institut für Theaterwissenschaft
依托单位国家：
德国
项目类别：
Research Grants
财政年份：
2016
资助国家：
德国
起止时间：
2015-12-31 至 2018-12-31
项目状态：
已结题

来源：
https://gepris.dfg.de/gepris/projekt/314751540?language=en
关键词：
Born spirit movement.Aleksandr Tairov

项目摘要

The aim of this project is todescribe and analyse for the first time Aleksandr Tairov's (1885-1950) Chamber Theatre in Moscow - an Russian avant-garde stage hailed in Germany in the 1920s as stimulating and "unleashed" - with regard to its specific form and aesthetics. The focus of this analysis will be on the scenic representation of Tairov's concept of the "synthetic" actor, a virtuoso comedian who can appear on the stage as tragedian, dancer, acrobat, clown, and singer. Since Tairov considered pantomime as the most important of all theatrical genres, and as he sought to approximate his actors to ballet dancers, in whose mastery of technique and physical expressiveness he saw an ideal, a particular emphasis of the study will be on body images in Tairov's productions.The intention is to produce a study with two parts, examining the period between 1914 and 1949. The first part will focus on Tairov¿s productions in the time between the founding of his theatre in 1914 and the year 1934, when "socialist realism" was declared the official artistic doctrine in the Soviet Union, bringing into line all cultural activities. Particular attention will be paid to the Chamber Theatre's three extended tours through Germany, France, and other European countries in 1923, 1925, and 1930, and the reception of Tairov's productions in the West. The subject of the second part of the study will be Tairov's work as a director after 1934, until the closing of the theatre in 1949. One aim here is to show how Tairov's model of the "synthetic" actor changed over time, influenced by developments in domestic and foreign affairs. A discourse analytical approach will be used to put Tairov's acting theories as well as his views on bodily and spatial aesthetics in relation to the concepts developed by his Western European and Russian contemporaries such as Georg Fuchs, Gordon Craig, Max Reinhardt, Rudolf von Laban, Vsevolod Mejerchol'd, and Nikolai Evreinov. The project aims at making Tairov's ideas accessible forscholarship and theatrical practice and enlarging our present picture of the Russian theatrical landscape in the 1920s, 1930s, and 1940s through an examination of an extensive collection of archival material, which has never been subject to close analysis before and which is as yet unknown in Germany.

该项目的目的是首次描述和分析亚历山大·泰罗夫（Aleksandr Tairov，1885-1950）在莫斯科的室内剧院——一个俄罗斯前卫舞台，在 20 年代的德国被誉为刺激和“释放”——关于它的具体内容本次分析的重点将放在泰罗夫“综合”演员概念的场景表现上，他是一位技艺精湛的喜剧演员。泰罗夫认为哑剧是所有戏剧类型中最重要的，并且他试图让演员接近芭蕾舞演员，因为芭蕾舞演员掌握了技巧和身体表现力。他看到了一个理想，该研究的特别重点是泰罗夫作品中的身体图像。其目的是进行一项由两部分组成的研究，考察 1914 年至 1949 年期间的情况。第一部分将重点关注泰罗夫¿ 1914年他的剧院成立到1934年期间的作品，当时“社会主义现实主义”被宣布为苏联的官方艺术学说，使所有文化活动都符合室内剧院的要求。 1923年、1925年和1930年在德国、法国和其他欧洲国家进行了三次巡回演出，以及泰罗夫作品在西方的接受程度是第二次的主题。该研究的一部分将是泰洛夫在 1934 年之后作为导演的工作，直到 1949 年剧院关闭。这里的一个目的是展示泰洛夫的“综合”演员模型如何随着时间的推移而变化，受到国内外事务发展的影响将使用话语分析方法将泰罗夫的表演理论以及他对身体和空间美学的观点与他的西欧和俄罗斯同时代人（例如乔治·福克斯）发展的概念联系起来。戈登·克雷格 (Gordon Craig)、马克斯·莱因哈特 (Max Reinhardt)、鲁道夫·冯·拉班 (Rudolf von Laban)、弗谢沃洛德·梅耶科尔德 (Vsevolod Mejerchol'd) 和尼古拉·埃夫赖诺夫 (Nikolai Evreinov) 该项目旨在使泰罗夫的想法能够应用于学术和戏剧实践，并扩大我们目前对 1920 年代、1930 年代和 1940 年代俄罗斯戏剧景观的了解。通过检查大量收集的档案材料，这些材料以前从未经过仔细分析，而且目前尚不清楚在德国。