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WHAT IS THE RELATIONSHIP BETWEEN THE SPECTATOR, THEATRE, AND THE STATE?статья Электронная публикация Исследовательская статья
- Автор: Деменцова Э.В.
- Журнал: The Theatre Times
- Год издания: 2017
- Аннотация: In Russia, the theater is an object of great love, and it is something to take pride in and brag about. As one of Chekhov’s characters worded it, “We can’t do without the theatre,” and the public, even if bemoaning the high prices of the tickets, still will now and then fall to a theatre-going spree. The spectator is a co-creator of the performance, just like the actor. The contemporary theatre won’t stand for its audience to stay unconcerned and apathetic but will demand from it the maximum degree of involvement. Unlike the actors, the spectator is “a player who plays many roles,” and thus has to know how to tune to each new show, how to be sensitive, daring, and prepared for the discoveries that are to be made. I teach a class at the Moscow School of Journalism, of the Central House of the Journalists,’ my course is an optional one, it is titled “Profession: Theatergoer,” and its objective is to teach theatre-goers to understand and accept theatrical experiments and forms that are most diverse. The theatre can do without the director, the playwright, the designer, and even without actors, but not without the public; that very public which has so often been reproached for the lack of comprehension, narrow-mindedness (the stalls and the gallery alike), ignorance, and shallowness. Yet without it, the theatre can’t exist. In my first lecture, I suggested to my students (the first group turned out to be 100 percent female, ages ranging from 17 to 65) to answer the question: “Why do you go to the theatre?” The answers more or less neatly fell into the following groups:
- Добавил в систему: Деменцова Эмилия Викторовна