54 research outputs found
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
Postkolonialism ja 20. sajandi Balti draama: Benedikts Kalnačsi monograafiast „20th Century Baltic Drama: Postcolonial Narratives, Decolonial Options“ / Postcolonialism and 20th Century Baltic Drama: about the monograph by Benedikts Kalnačs, 20th Century Baltic Drama: Postcolonial Narratives, Decolonial Options
No full text.</jats:p
The Northern Forest. La forêt nordique
No full textFR Cet ouvrage permet de mettre de l’avant le rapport continu et intrinsèque entre le vivant, le non-vivant et la forêt, mais aussi la possibilité de voir la forêt comme un modèle de pensée qui suscite de l’émotion et des affects, qui induit des modes de pensée et qui peut être vu tant comme une représentation que comme la source de représentations culturelles. Avec des articles de Sara Bédard-Goulet, Sven Blehner, Rachel Bouvet, Daniel Chartier, Anne-Marie Dionne, Monique Durand, Luule Epner, Timo Maran, Raili Marling, Merili Metsvahi, Jane Remm, Anneli Saro, Rūta Šlapkauskaitė, Ene-Reet Soovik, Dalibor Žíla.
EN
This book puts forward the continuous and intrinsic relationship between the living, the non-living, and the forest as well as the possibility of seeing the forest as a model of thought that evokes emotion and affects, induces ways of thinking, and which can be seen both as a representation and the source of cultural representations. With articles from Sara Bédard-Goulet, Sven Blehner, Rachel Bouvet, Daniel Chartier, Anne-Marie Dionne, Monique Durand, Luule Epner, Timo Maran, Raili Marling, Merili Metsvahi, Jane Remm, Anneli Saro, Rūta Šlapkauskaitė, Ene-Reet Soovik, Dalibor Žíla
Teispool draamat: tekst nullindate teatris / Beyond Drama: Text in the Theatre of the 2000s
No full textThe article examines the relations between Estonian dramaturgy and the rapidly renewing ‘post-dramatic’ theatre of the 2000s from two viewpoints: new text creation practices and how the poetics of texts have changed.
In the 2000s, the share of original dramaturgy increased sharply: in the 1990s, about 25% of new productions were based on Estonian material, whereas by 2010 the percentage was 45%. A quite popular form was ‘director-dramaturgy’ (i.e. the director writes or compiles the text for production), which had started as early as the 1970s (e.g. works by Merle Karusoo and Mati Unt). Theatre criticism took up the concept of author’s theatre (e.g. Ivar Põllu), also emphasising one person’s control over both the text and directing the production. In this case, text-creation is processual: a text takes shape according to the author’s directorial strategies and the interaction between the director and the actors. The collective creation of texts and productions should be examined separately; this emerged powerfully in the 2000s and was primarily connected with smaller theatres. Quite often, text and production are created through the method of devising; the article tackles this approach on the basis of productions by Theatre NO99. In the case of group work, the issue of the text’s authorship is rather complicated, as it is a cooperative practice, where the authors’ functions are not clearly differentiated.
The blending of text creation with theatre process influences the poetics of drama texts in various ways. The most important changes are as follows: a) a dominant or constituting role can be assumed by non-verbal means of theatre; the text written for them serves only as a general indication (e.g. the music in Uku Uusberg’s texts, and the methods of visual art in How to Explain Pictures to a Dead Hare of NO99); b) there is an instability in the text, which varies in different performances, resulting from improvisation as a strategy of text creation; c) a shift from the fictional to the factual, producing the impression of authenticity, e.g. by means of documentary material (e.g. Paavo Piik’s Panso); d) monologue storytelling, usually autobiographical and documentary stories (e.g. Roy Strider’s The Rebels); e) rewriting of classics continued (e.g. works by Mati Unt and Andrus Kivirähk).
During the 2000s, the changes in Estonian dramaturgy have been more cutting than in the 1990s, a result of the tight intertwining of dramaturgic and directorial practices and strategies. In a wider perspective, the spread of new practices constitutes one part of the synchronisation of Estonian theatre with Western theatre, where the paradigm of post-dramatic theatre emerges. Legitimising post-dramatic theatre texts in the field of literature occurs more on an institutional basis and is based on individual cases rather than according to literary criteria
Postcolonialism and Baltic Drama
No full textBenedikts Kalnačs, 20th Century Baltic Drama: Postcolonial Narratives, Decolonial Options. Bielefeld: Aisthesis Verlag, 2016.</jats:p
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
No full textVormistatud pdf-na html versioonisthttp://tartu.ester.ee/record=b1059281~S1*es
Contemporary Finnish drama in Estonian Theatre in the 21st century
No full textAfter 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
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