Spinning the Text: The Play with Infinity in Contemporary Russian Theatre

Beumers, Birgit

doi:10.2307/3735625

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“…17 This focus on the slow pace of the game allowed for an exploration of 'the temporal issues of how a pervasive game can be mixed with the patterns of players' ongoing daily lives, an aspect of pervasive gaming that has hitherto largely been ignored in favour of location oriented issues'. 18 Feedback from the initial test at the Laban Centre revealed that the majority of players had adopted an episodic mode of play. This means that players dipped in and out of the game over the course of twenty-four days, sometimes not playing for several days before reengaging again.…”

Section: Gabriella Giannachi Asks Matt Adamsmentioning

confidence: 99%

“…the character's text'. 18 It is worth noting a corresponding idea from Yuri Lotman, who explains character as '[t]he establishment of a relationship of difference and mutual freedom between the hero-agent and the semantic field surrounding him'. 19 This notion of character is central to Theatre of Players (and perhaps other forms of Conceptual Theatre) and therefore warrants more attention.…”

Section: Gabriella Giannachi Asks Steve Benfordmentioning

confidence: 99%

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Thomas¹

2008

Contemporary Theatre Review

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Section: Gabriella Giannachi Asks Matt Adamsmentioning

confidence: 99%

Section: Gabriella Giannachi Asks Steve Benfordmentioning

confidence: 99%

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Thomas¹

2008

Contemporary Theatre Review

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A Non-Aristotelian Model: Time as Space and Landscape in Postmodern Theatre

Krijanskaia

2008

Found Sci

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In his Poetics, Aristotle articulated certain ideas on the structure of drama that dominated both dramatic literature and theatre practices for the centuries to come. In this article I show how the thorough analysis of his statements leads us to believe that he endorses causality, narrativity, and temporal linearity as primary factors in the organization of dramatic and stage texts. Tracing various modifications of causality throughout theatre history, I use the work of the two prominent contemporary directors, Eimuntas Nekrosius and Anatoly Vasilyev, to demonstrate how postmodernist theatre has arrived at non-Aristotelian theatrical model based on the unity of a time-space continuum rather than temporal development.Keywords Aristotle · Nekrosius · Vasilyev · Brecht · Stein · Stanislavsky · Landscape · Causality · Narrativity · Time-space continuum In his Poetics Aristotle articulated certain ideas on the structure of drama that dominated both dramatic literature and theatre practices up to the 20th century. The twentieth and twenty first centuries, however, witness a conspicuous departure from the Aristotelian ideas on temporal linearity of theatrical performance. Using the work of the two prominent contemporary directors, Eimuntas Nekrosius, Lithuania and Anatoly Vasilyev, Russia I will demonstrate how contemporary theatre uses non-Aristotelian theatrical model based on the unity of timespace continuum rather than temporal development. Putting aside the discussion of whether Aristotle's study was limited to a dramatic text or took into consideration an entire performance event, I will focus on particular stage works to read them against the ideas of Aristotle. By doing so, I intend to show how Aristotelian criteria can be instrumental even in absentia 1 See, for example, Barnes (1995).

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Spinning the Text: The Play with Infinity in Contemporary Russian Theatre

Cited by 2 publications

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A Non-Aristotelian Model: Time as Space and Landscape in Postmodern Theatre

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