Семинар по истории театра - все книги по дисциплине. Издательство Лань
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Впервые публикуемая рукопись балетного критика Александра Павловича Демидова (1944–1990) сравнительно недавно обнаружилась в его архиве и посвящена творчеству выдающейся русской балерины Ирины Александровны Колпаковой. Ее творческий путь занял 1950–80-е гг. и протекал на сцене Кировского, ныне Мариинского театра. Сценический репертуар включил в себя сочинения М. Петипа, Ж. Коралли и Ж. Перро, М. Фокина, Ю. Григоровича, И. Бельского, Л. Якобсона, др. Автор застал расцвет ее сценической карьеры и запечатлел формирование стиля и исключительной артистической индивидуальности. Он анализирует послужной лист балерины не линейно, а с точки зрения высших совпадений ее духовной природы с хореографическим замыслом. И на основании этого выводит собственную концепцию, определяя место и роль Ирины Колпаковой в истории русского балета ХХ в.
Книга привлечет внимание балетоведов и театроведов и также будет интересна всем, в ком жива мысль о судьбах русского балета. Издание иллюстрировано новыми фотографиями.
The сurrent edition is the first publication of the manuscript by the ballet critic Alexander Pavlovich Demidov (1944–1990), which was recently discovered in his archive. It is devoted to the work of the outstanding Russian ballerina Irina Alexandrovna Kolpakova. Her career took place between the 1950s and the 1980s on the stage of the Kirov (now the Mariinsky) Theatre. Her stage repertoire included pieces by M. Petipa, J. Coralli and J. Perrot, M. Fokine, Y. Grigorovich and others. The author witnessed the heyday of her stage career and captured the formation of her style and exceptional artistic individuality. He analyzes the ballerina’s roles list not linearly but from the point of view of the highest concordance between her spiritual nature and the choreographic concept. Following these foundations, he makes his own concept, defining Irina Kolpakova’s place and role in the Russian ballet history of the 20th century.
The book will attract the attention of ballet and theatre experts and will also be of interest to anyone who is curious about the fate of Russian ballet. The edition is newly illustrated.
Книга привлечет внимание балетоведов и театроведов и также будет интересна всем, в ком жива мысль о судьбах русского балета. Издание иллюстрировано новыми фотографиями.
The сurrent edition is the first publication of the manuscript by the ballet critic Alexander Pavlovich Demidov (1944–1990), which was recently discovered in his archive. It is devoted to the work of the outstanding Russian ballerina Irina Alexandrovna Kolpakova. Her career took place between the 1950s and the 1980s on the stage of the Kirov (now the Mariinsky) Theatre. Her stage repertoire included pieces by M. Petipa, J. Coralli and J. Perrot, M. Fokine, Y. Grigorovich and others. The author witnessed the heyday of her stage career and captured the formation of her style and exceptional artistic individuality. He analyzes the ballerina’s roles list not linearly but from the point of view of the highest concordance between her spiritual nature and the choreographic concept. Following these foundations, he makes his own concept, defining Irina Kolpakova’s place and role in the Russian ballet history of the 20th century.
The book will attract the attention of ballet and theatre experts and will also be of interest to anyone who is curious about the fate of Russian ballet. The edition is newly illustrated.
Большинство статей сборника посвящены театру рубежных, кризисных эпох. Автор раскрывает значение крупнейших художественных направлений, которые противостояли официальной доктрине и искусству массовому. Античность в восприятии театральных новаторов конца XIX - начала ХХ веков, рококо в XVIII веке, символизм в конце XIX, модерн в начале XX, сюрреализм в 1920-е годы. Именно в них рождались и вызревали явления, во многом опередившие свое время и определившие культуру сегодняшнего дня. На протяжении веков русское и мировое искусство развивалось в тесной взаимосвязи. Важное место уделено межнациональным театральным связям: постановки пьес Гоголя, Ибсена, Стриндберга, Шекспира такими яркими режиссерами, как Люнье-По, Арто, Стуруа приобретают в чужом национальном контексте неожиданное звучание. А античная трагедия приобретает особую глубину в восприятии русских исследователей.
Most of the collection’s articles are devoted to the theatre of the turning point and crisis eras. The author reveals the significance of the major artistic movements that opposed the official doctrine and popular art. Antiquity in the perception of theatre innovators of the late 19th — early 20th centuries, Rococo in the 18th century, Symbolism in the late 19th century, Modern style in the early 20th century, Surrealism in the 1920s. It was in them that phenomena appeared and matured, which in many respects were ahead of their time and determined the culture of today.
Over the centuries, the Russian art and the world art have developed in close relationship. Much attention is paid to international theatrical connections: productions of plays by Gogol, Ibsen, Strindberg, Shakespeare by such outstanding directors as Lugné-Poë, Artaud, Sturua gain a fresh “sound” in an international context. And the ancient tragedy gains a special depth in the perception of Russian researchers.
Most of the collection’s articles are devoted to the theatre of the turning point and crisis eras. The author reveals the significance of the major artistic movements that opposed the official doctrine and popular art. Antiquity in the perception of theatre innovators of the late 19th — early 20th centuries, Rococo in the 18th century, Symbolism in the late 19th century, Modern style in the early 20th century, Surrealism in the 1920s. It was in them that phenomena appeared and matured, which in many respects were ahead of their time and determined the culture of today.
Over the centuries, the Russian art and the world art have developed in close relationship. Much attention is paid to international theatrical connections: productions of plays by Gogol, Ibsen, Strindberg, Shakespeare by such outstanding directors as Lugné-Poë, Artaud, Sturua gain a fresh “sound” in an international context. And the ancient tragedy gains a special depth in the perception of Russian researchers.
Книга посвящена одному из интереснейших периодов истории английского театра. В ней собраны уникальные сведения, касающиеся многих сторон его развития: структура театральных зданий, актерское искусство, процессы создания спектакля, социальное положение актеров, появление на подмостках женщины-актрисы. театральная режиссура, музыка и танец в драматическом спектакле. Немало интересного отведено в книге и нравам, царившим как в зрительном зале, так и за кулисами. Книга рассчитана как на специалистов, так и на широкий круг любителей театрального искусства.
The book is dedicated to one of the most interesting periods in the history of English theater. It contains unique information concerning many aspects of its development: the structure of theater buildings, acting art, the processes of creating a performance, the social status of actors, the appearance of a woman-actress on the stage, theater direction, music and dance in a drama performance. A lot of interesting things are given in the book and the morals that reigned both in the auditorium and behind the scenes.
The book is intended both for specialists and for a wide range of theater lovers.
The book is dedicated to one of the most interesting periods in the history of English theater. It contains unique information concerning many aspects of its development: the structure of theater buildings, acting art, the processes of creating a performance, the social status of actors, the appearance of a woman-actress on the stage, theater direction, music and dance in a drama performance. A lot of interesting things are given in the book and the morals that reigned both in the auditorium and behind the scenes.
The book is intended both for specialists and for a wide range of theater lovers.