The Routledge Dictionary of Performance and Contemporary Theatre

“A Glimpse of ‘Another Russia’”: Elisaveta Fen's Chekhov Translations

“…The presence of both these Russian women and their embodied, historicized approach to Chekhov's works haunt Miller's plays with, to borrow Patrice Pavis's useful term, "an authenticity effect," that is, an comprehensible illusion of authenticity produced by a series of readable onstage and offstage signs. 98 This conclusion is not without its problems, of course: it could be read as two token women fulfilling rather shadowy functions behind more celebrated theatrical men. My aim here is to counteract this dismissive conclusion, to reject consigning Alexander and Fen to supporting roles and instead to resurrect them as significant contributors to a history of "British Chekhov.…”

Landscape as Operational Notion in the Performing Arts

“…He identifies landscape as object of research in Performance Studies and points out that the use of the concept gores beyond land art 1 , since it began to encompass sound, textual and visual practices. Pavis (2016) comments on the work of the dramatic author Michel Vinaver, which is based on the understanding that landscape is formed from a combination of themes, one after the other, constituting a world in constant formation.…”

“…Another reference that Pavis (2016) mentions is Gertrude Stein, an important figure to understand the relationship between landscape and staging, because perceiving the stage as landscape was precisely Stein's 2 desire. Pavis (2016) also observes the production of a textual landscape (textscape), which depends on the reading (reader) or staging (spectator) in order to exist: "[...] when we talk of textual landscape (textscape), we are suggesting that the text depends on the point of view, on the gaze, on the ability to move through the landscape, on the inside-out duplication produced by reading" (Pavis, 2016, p. 117). Even though not mentioned by Pavis (2016), one may consider here, as an example, the spoken pieces by Peter Handke 3 .…”

“…To this end, initially this writing is based on a contextualization of the notion from the perspective of certain specific authors from Contemporary Theatre and Performance, such as Patrice Pavis (2016), Elinor Fuchs and Una Chaudhuri (2002). Next, Stein's (2017) practice and theory are discussed, in order to reflect on how the author's idea of a landscape-play can enhance the argument around the notion of landscape, as a force field in stage practice (from the modes of production to public presentation).…”

Interactyvity in theatre: a feature of performance structure or an outcome of communication process?

“…Vienas svarbiausių XX a. interaktyvaus teatro kūrėjų Augusto Boalas ribas žiūrovų kūrybinėms intervencijoms savo darbuose nubrėždavo gana aiškiai 21 . Tipinę jo teatro formulę būtų galima įvardyti tokią: 1) pirmiausia aktoriai suvaidina trumpą istoriją, kurioje pagrindinis herojus patiria priespaudą arba nukenčia; 2) po to istorija vaidinama antrą kartą, o žiūrovai kviečiami ją sustabdyti, kai įvyksta lemiamas įvykis ar ištariami lemiami žodžiai; 3) kai kuris nors iš žiūrovų sustabdo veiksmą, jis pakviečiamas suvaidinti, kaip herojus turėjo reaguoti ar elgtis rodomoje situacijoje -taip žiūrovai kviečiami su aktoriais sukurti alternatyvią istorijos versiją 22 . Tokio pobūdžio spektaklį koordinuoja vienas iš aktorių, palaikantis ryšį tarp žiūrovų ir pasakojamos istorijos.…”