Κατεύθυνση Παγκόσμιο Θέατρο: Πράξη - Δραματουργία - ΘεωρίαLibrary of the School of Philosophy
Πλάτων Μαυρομούστακος, Καθηγητής, Τμήμα Θεατρικών Σπουδών, Ε.Κ.Π.Α.
Βίκτωρ Αρδίττης, Καθηγητής, Τμήμα Θεάτρου Θεσσαλονίκης, Α.Π.Θ.
Μαριλένα Ζαρούλια, Senior lecturer, Department of Performing Arts, University of Winchester
Η ανανέωση της θεατρικής φόρμας μέσα από τις παραστάσεις Τουραντώ του Ευγένιου Βαχτάνγκοφ και Υπηρέτης δύο αφεντάδων του Τζόρτζιο Στρέλερ
The renewal of the theatrical form through the performances Turandot of Yevgeny Vakhtangov and The Servant of Two Masters of Giorgio Strehler
The purpose of my thesis is to explore the new theatrical elements that the performances of Turandot (directed by Yevgeny Vakhtangov) and The Servant of Two Masters (directed of Giorgio Strehler) brought in to the theatre practice. First, we examine the terms text, actor, director and subsequently we analyze Stanislavsky’s realism and Meyerhold’s theatricality that influenced the directing view of Vakhtangov and led him to what he named fantastic realism. We investigate the method of his direction describing in detail how he approached the play, the way he worked with his actors and the contributors, emphasizing the basic role that fantasy, music, rhythm, plasticity and accuracy had in the performance of Turandot. In addition, we analyze thoroughly the way that Commedia dell’ arte influenced the performance. The next chapter is focused on the way that Carlo Goldoni reformed Commedia dell’ arte and on the way that Commedia dell’ arte reformed theatre practice with examples of specific directors. An introduction about the main purposes of the foundation of Piccolo Teatro as a theatre that is characterized by collectivity and dialectics, follows. In the next chapters we concentrate on the six versions of the performance of The Servant of Two Masters highlighting the reforming elements on acting, scenography, lighting or directing in general. Conclusions are drawn in the last chapter. We suggest that renewal comes when the artist looks at something as for the first time and when he or she has the ability to show on the stage situations related to his or her time, to the needs of “now” and “always”…
Main subject category:
Aesthetics and Arts
world theatre, director, Yevgeny Vakhtangov, Giorgio Strehler, performance, commedia dell' arte
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