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Hool ning jagatud agentsus näitlejatreeningus: uus transformatiivne lähtepunkt (praktikate kogum)
No full textSummary in Estonian availableThis dissertation proposes training strategies (sets of practices) for actors envisioned through and in discourse with a theoretical framework of post-psychophysical acting. The postpsychophysical provides alternative conceptualizations of the performer’s work that are based on socio-material relational dynamics, mechanisms, and networks that situate that activity in the overlapping contexts of living and practice (Camilleri 2020: xxi). By devising training evolving out of the post-psychophysical discourse, this artistic research aims to encourage other practitioners to step in and find their strategies to devise processes deeply connected to the instances of a post-human condition. The methodology of this dissertation consists of practice-as-research, literature review, and autoethnography. It includes a theoretical analysis of the notion of post-psychophysicality in relation to actor training, focusing on the relevance of new materialism and posthumanism in tracing the transformative trajectory of actor training as a mixed practice of conflict and care. In exploring how to link the performative process of acting to concepts drawn from 21st century studies, this research describes the development of four works: a theatre performance with a posthumanist dramaturgical approach; a theatre pedagogical process based on principles of
both psychophysical and post-psychophysical approaches; site-specific research on sociomaterial relational dynamics; and a site-specific, multidisciplinary performance based on the concept of assemblage. This research concludes by proposing a set of strategies to develop the actor’s sense of self and agency in a way that is open and attentive towards human and non-human developments and fulfils the promise of maintaining a (critical) connection with the basic notion of psychophysical training
Postmodernism siirdeajastu Eesti teatris [Postmodernism in the Estonian theatre in the transition period]
No full textArtikkel annab ülevaate postmodernistliku esteetika levikust eesti teatris siirdeajastul (1980. aastate lõpust kuni 21. sajandini). Sel perioodil avaldus postmodernism teatris nõrgemini kui teistes kunstides, piirdudes üksikute lavastajate ja teatritruppidega. Artiklis vaadeldakse postmodernismi perspektiivist lähemalt 1980. aastate lõpul tegutsenud lühiajalisi vabatruppe (Gregor, Ruto Killakund), 1992. aastal esimese Eesti erateatrina loodud Von Krahli teatrit ja selle juhi Peeter Jalaka loomingut ning riigiteatris tegutsenud Evald Hermaküla ja Mati Undi lavastusi. Postmodernistlik esteetika imbus eesti teatrisse 1990. aastatel ja hakkas teatripilti jõulisemalt mõjutama 21. sajandi alguses, kuid teatridiskursuses postmodernismi teooriad ei kinnistunud. Artiklis analüüsitakse eesti teatri postmodernismileiguse põhjusi ning selle mõiste kasutamist kirjeldusmudelina lääne teatris üldisemalt ja eesti teatridiskursuses.
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The article gives an overview of the emergence of postmodern aesthetics in the Estonian theatre and the response it received in the theatre discourse during the transitional period. The postmodernisation of different arts occurred at various speeds and in a different scope. In the Estonian theatre, postmodernism was less pronounced than in other arts, being limited to individual directors and theatre groups. Postmodern aesthetics and the worldview that carried them permeated the Estonian theatre mainly through non-state theatre groups operating outside the state theatre system. The article first examines the short-lived theatre groups created in the late 1980s, such as Gregor and Ruto Killakund. It then focuses on the Von Krahl Theatre, founded in 1992 as the first Estonian private theatre, led by Peeter Jalakas. The article also analyses the postmodernist features of the productions of Mati Unt and Evald Hermaküla, directors who worked in state theatres.
In general, postmodernism emerged in the Estonian theatre in the 1990s (although it did not become mainstream) and began to influence theatre aesthetics more strongly in the early 21st century. However, the theories of postmodernism did not take root in the theatre discourse. This developmental inertia is usually explained by the theatre’s institutionalism and the resulting dependence on audiences. The individual Estonian leading directors’ choices contributed to this, as well as a very weak conceptualisation of postmodernism in the theatre criticism of the time. The styles that were alternative to the mainstream were accepted in post-Soviet theatre discourse but were described as peripheral, largely because the private theatres of the 1990s were placed in the context of amateur theatre. The synchronic criticism constructed the theatrical canon based on state theatres, and therefore, postmodernist features in the Estonian transitional theatre have remained in the background
Draamateooria probleeme. I
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Contemporary Finnish drama in Estonian Theatre in the 21st century
Get PDFAfter regaining independence in 1991 Estonia, like other Baltic states, went through a transition period which can be described as a return to the West, i.e. Europe. By now, Estonia has joined European community and is successfully integrated with Europe. However, in regard to the country’s cultural and political identity, the process of self-determination continues, particularly on the level of regional identity: whether the newly independent Baltic countries belong to Eastern or Northern Europe? Estonia tends to position itself among Nordic countries, primarily by reason of close historical ties and linguistic kinship with Finland.
In the light of current identity processes the cultural interaction between Estonia and Finland deserves attention. This paper examines only one aspect: the reception of contemporary Finnish dramaturgy in the 21st century Estonian theatre. Finnish dramas had been staged in Estonian theatres since the end of the 19th century. However, it is noticeable that their number has significantly increased since the 2000s, and the repertoire of the major Estonian theatres contains far more new, contemporary Finnish plays than well-known classics. Plays by Leea Klemola, Sirkku Peltola, Juha Jokela, Mika Myllyaho, Pipsa Lonka and others enjoy great popularity among Estonian audiences. How do these plays represent Finnish society? How were they interpreted and received in Estonian theatre? How do stage productions of Finnish plays contribute to the construction of shared Nordic identity? The paper looks for answers to these questions
Soundscapes in Lauri Lagle’s Stage Productions
Get PDFSummary available in English / Kokkuvõte inglise keelesThis article examines the role of soundscapes in the productions of contemporary Estonian theatre director Lauri Lagle. The concept of soundscape is introduced by drawing on interdisciplinary sound studies and the principles of musicality in post-dramatic theatre. The article examines the composition of the soundscapes in Lagle’s productions from 2012 to 2024: how they are created and what functions they perform in the productions as a whole. First, the main features of Lagle’s stage work are outlined, highlighting his aesthetic’s musicality. His theatrical practice is characterised by ensemble playing, polyphonic structure, and the active role of sound and music in staging. Subsequently, his soundscapes are examined according to their composition, analysing the artistic strategies for using music, nonmusical sounds, and the human voice. Particular attention is drawn to NO35 Päev pärast vaikust (After
Silence) and Ainult jõed voolavad vabalt (Only Rivers Run Free), where the soundscapes are central, not limited to a background function but playing a part in the productions’ rhythm, meaning and atmosphere. The article shows that music and sounds can function in Lagle’s productions both as creators of dramaturgical continuity and as an alienating element that distinguishes the stage reality from the everyday world.Eesti Vabariik, KultuuriministeeriumRepublic of Estonia, Ministry of Cultur
The emergence of the independent theatre scene in Estonia (1987–92)
Get PDFThe years 1987–92 mark the first or breakthrough stage of the Estonian transition period from being one of the Soviet republics to a newly independentdemocratic state. The cultural processes of the transition are commonly discussed in terms of re-westernization. However, the picture is more complex,as Western influences intertwined with the legacy of the Soviet cultural realm. The article looks into the interplay between various influences, analyzing theemerging independent theatre scene from both institutional and aesthetic perspectives. On the institutional level, a range of small groups emerged thatoften blurred the line between (semi-)professional and amateur theatre. On the aesthetic level, one can identify three main trends: biographical and/or culturalhistorical documentary theatre; theatre based on the ethnic heritage of different (mostly Northern) nations; postmodern aesthetics. Two more general patterns are 1) the radicalization of Soviet-era artistic searches, empowered by the rise of Estonian nationalism, and 2) the advent of postmodernism, triggered by contemporary Western ideas about theatre
Aated ja stiiliotsingud: ekspressionism 1920. aastate eesti teatris [Ideals and stylistic searches: Expressionism in the Estonian theatre of the 1920s]
No full textIn Estonian theatre, the experience of World War I found expression somewhat belatedly, in the early 1920s, when Expresssionist plays, mainly by contemporary German playwrights – Ernst Toller, Walter Hasenclever, Georg Kaiser et al – were staged in the Estonia Theatre, in the Drama Theatre and in the amateur Hommikteater (Morning Theatre, 1921–1924). The article examines the most significant Expressionist stage productions, focusing on the relations between their ideological, affective and stylistic dimensions. Critical and audience receptions of Expressionist plays are discussed as well. In the Estonia Theatre, a group of young actors and directors (Ants Lauter, Erna Villmer, et al) sought to innovate theatrical language by making use of new, Expressionist devices. In contrast, the amateur Hommikteater (led by August Bachmann and Nigol Andresen) placed emphasis on spreading the ideals of new humanity and social justice, which reflected the left-wing sympathies of the troupe, but their work was also distinguished by an inventive style and a strong emotional impact on audiences. The members of the literary group Tarapita (who promoted Expressionism themselves) enthusiastically supported Hommikteater. This little theatre became highly influential in the process of theatre innovation, despite its very small audiences. However, the key ideas and ideals of postwar Expressionism (including a strong anti-war pathos) had rather little effect on Estonian theatre in general. Expressionism mainly contributed to the 315 widening of the stylistic palett e of Estonian theatrical art. This can be partly explained by the social situation of the 1920s: victory in the War of Independence and the subsequent building of the independent Estonian state raised nationalist spirits and made people less sensitive to the destructive experiences of World War I as reflected in postwar German Expressionism
Teatriuuenduse retseptsioonist sünkroonkriitikas. The Reception of Theatrical Renewal in Contemporary Criticism
No full textThe article focuses on the critical reception of innovative theatre productions in the 1960s and 1970s (directors Evald Hermaküla, Jaan Tooming, Kaarin Raid), in which the conflict of discourses in theatre theory becomes obvious and the metalanguage of criticism changes. Censorship made criticism difficult, because it forced the critics to use Marxist terminology in order to protect the productions from attacks based on Soviet ideology. Innovative theatre productions were seen as artistic experiments, but the results were appraised differently. Criticism was divided in regard to the following questions: the relation between the literary text and the means of expression on stage (primarily a question of staying true to the author), about the productions as such in their different meanings, and the actor’s relationship to the director. In the theatre world, the young directors’ renewal was most actively opposed by director Voldemar Panso, who dismissed it as a foreign and hostile direction in opposition to his own aesthetical programme. Kaarel Ird protected the young directors active at the Vanemuine Theatre (of which he was in charge) using Marxist rhetoric of somewhat demagogical character. Some critics, such as Valdeko Tobro, tried to place this new, modernistic type of theatre in familiar aesthetical and rhetorical categories using the aesthetics of Stanislavskian psychological realism. Psychological realism was treated as the tradition and mainstream of Estonian theatre, and any divergence from it was considered dangerous. The semi-underground journal Thespis (1972-1973) used the same metalanguage as the theatre directors. In Thespis, young intellectuals and critics discussed the relationship between theatre and reality, theatre as game and ritual as well as other questions, connecting with Artaud, Grotowski and Brook’s theatrical ideas. The reception of the production Külalised ( The Visitors, 1974) shows how the descriptive language used in criticism was approaching the ideas of the young directors, which were beginning to edge out the vocabulary of Marxist aesthetics. The discourse conflict was considerably mollified. However, the new language of theatre did not receive full recognition; the disputes about the changes of literary text and within which borders interpretation was allowed to operate continued. Another bone of contention was the perspective on the development of Estonian theatre – some critics awaited a synthesis based on psychological realism while others supported artistic pluralism
Redefining national identity by playing with classics
Get PDFNational identities are to a great extent based on common mythical stories (re)produced by literature and arts; in the long run, the core texts of literature themselves start to function as cultural myths. Performing classical works theatre relates them to the changing social context and thus actualises their meaning. Theatrical representations of national characters and mythical stories participate in reinforcing or redefining national identity. In independent Estonia of the 1990s–2000s the need for reconsidering national values and myths that served to consolidate society in the Soviet period, has become evident. The article focuses on theatrical productions in the turn of the century, which are based on active rewriting of well-known Estonian classics (August Kitzberg, Oskar Luts, and the national epic Kalevipoeg). The article tries to answer two questions: how ingredients of national identity (for instance, the relation to the Other) are displayed and (de)constructed by adapting or rewriting of above-mentioned classics; how textual strategies aimed at semantic transformations are motivated and shaped by the principle of self-reflexive theatrical play
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