“他没有回到军队”:帕维尔·普里日科的《士兵》中的战争、爱国主义和逃兵

IF 0.3 3区 艺术学 0 THEATER Studies in Theatre and Performance Pub Date : 2021-04-23 DOI:10.1080/14682761.2021.1917873
J. Rowson
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引用次数: 0

摘要

在过去的二十年里,俄罗斯的一群戏剧制作人上演了被压制和边缘化的声音,以参与当代俄罗斯的政治和社会现实。这些创新的戏剧从业者的作品被整理在新戏剧(Novaya Drama)的成语下。以往对新戏剧的研究侧重于文本的作用和剧作家对当代语言的动态使用。虽然承认这些是新戏剧曲目的重要特征,但本文通过研究帕维尔·普里日科的作品提供了另一种方法。本文在第二次车臣战争和弗拉基米尔·普京在公共领域复兴军队的背景下,探讨了普里日科的《士兵》(Soldat, 2011)。通过对《士兵》演出的详细研究,本文认为这部作品的内容和形式对于产生关于当代俄罗斯社会中军队角色的对立话语至关重要。普里日科在《士兵》中回避了戏剧语言和对话互动的传统观念,打破了观众对戏剧表演的期望,并随后促进了关于克里姆林宫对俄罗斯军队特权的更广泛的对话。
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‘He did not go back to the army’: war, patriotism and desertion in Pavel Pryazhko’s The Soldier
ABSTRACT Over the past twenty years, a collection of theatre makers in Russia have staged suppressed and marginalised voices to engage with the political and social realities of contemporary Russia. The work of these innovative theatre practitioners has been collated under the idiom of New Drama (Novaya Drama). Previous studies of New Drama have placed an emphasis on the role of the text and the playwright’s dynamic use of contemporary language. While acknowledging that these are important features of the New Drama repertoire, this article provides an alternative approach by examining the work of Pavel Pryazhko. This article explores Pryazhko’s The Soldier (Soldat, 2011), in the context of the Second Chechen War and Vladimir Putin’s revivification of the military in the public sphere. Through a detailed study of The Soldier in performance, this article contends that the production’s content and form is vital in generating an oppositional discourse about the role of the military in contemporary Russian society. Pryazhko’s eschewal of traditional notions of theatrical language and dialogic interaction in The Soldier disrupts the audience’s expectations of what a theatre performance is, and subsequently facilitates a wider dialogue about the Kremlin’s privileging of the military in Russia.
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来源期刊
CiteScore
0.60
自引率
33.30%
发文量
11
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