1,721,035 research outputs found
Introducing Maria Shevtsova
No full textThis is the introduction by the guest convenor, Rui Pina Coelho, of this Scholar in Focus section on Prof. Em. Maria Shevtsova (Goldsmiths, University of London, UK), an esteemed and internationally acclaimed scholar, widely celebrated for her pioneering research on contemporary European theatre directors and companies, Russian theatre, the epistemology of mise-en-scène, and for laying the foundations of the innovative field of the sociology of theatre
Fifty Key Personal Notes on Maria Shevtsova
No full textIn 2005, Maria Shevtsova Shomit Mitter published a book that became an essential reference in the study and historicization of twentieth-century mise-en-scène: Fifty Key Theatre Directors (Routledge). The current collection of personal notes pays homage to that title
The Golden Mask Festival 2010
No full textThe Golden Mask Performing Arts Festival, established in 1994, held each spring in venues throughout Moscow, features the best productions of the previous season from all performing arts. Maria Shevtsova reports on the edition of 2010.</jats:p
Maria Shevtsova in Conversation with Ann-Christen Rommen, Experiencing the Movement
No full textAnn-Christin Rommen began to work with Robert Wilson in 1983 with The CIVIL warS. Her long collaboration with him since then has included more than thirty productions, most recently her co-direction of Dreamplay (Stockholm, 1998), Woyzeck (Copenhagen, 2000), Peer Gynt (Oslo, 2005), and The Winter's Tale (Berlin, 2005). She also has her own company in Germany, Codanza, which combines contemporary dance and early music, and whose work has been seen in Europe, Asia, and Australia. In this interview with Maria Shevtsova, which began in Oslo on 7 February 2005, Ann-Christin Rommen offers insights into Wilson's working methods, with particular reference to his Oslo Peer Gynt. Maria Shevtsova, Co-Editor of NTQ, is the author of Robert Wilson for the Routledge Performance Practitioners Series (forthcoming 2007)
ROBERT WILSON: MÉTODO DE WORKSHOP
Full text linkIn the first part of the chapter Methods, Elements and Principles, named Workshop Method, Maria Shevtsova presents the method of creation developed by Robert Wilson, particularly from the use of visual books. From interviews with Wilson, the author highlights the basis of the work of the director, indicating the importance of sign language and the movement of all elements in their creations. Through the description of the workshop table and the workshops with actors, the author presents the equalization of all the elements present in the staging, a fundamental aspect in the work of Robert Wilson.Na primeira parte do capítulo Métodos, elementos e princípios, nomeada Método de Workshop, Maria Shevtsova apresenta o método de criação desenvolvido por Robert Wilson, particularmente a partir da utilização dos livros visuais. A partir de entrevistas com Wilson, a autora destaca a base de pensamento do trabalho do encenador, indicando a importância da linguagem gestual e do movimento de todos os elementos em suas criações. Através da descrição do trabalho de mesa [workshop table] e dos workshops com atores, a autora apresenta a equalização de todos os elementos presentes na encenação, aspecto fundamental no trabalho de Robert Wilson
Il teatro politico in Europa
No full textWhat political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Ro-mania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in focus to indicate how political theatre in the seven years speci- fied has been far from alien to, or sidelined from, national theatres, state theatres, or other prestigious companies in receipt of state subsidy. Two main profiles of recent political theatre emerge from this research, one that acknowledges political history, while the other critiques neoliberal capitalism; there is some unpronounced overlap between the two. Productions of Shakespeare feature significantly in the delineated theatrescape
Revolutions Remembered: the Golden Mask Festival in Moscow 2017
Full text linkThe 2017 Golden Mask and National Theatre Award and Festival offered, as it usually does, a wide range of large- and small-scale theatre, musical theatre, opera, ballet, contemporary dance and puppetry ¬– a month and more of intensive activity that keeps its annually changing jury on its toes. Maria Shevtsova provides an overview of the Russian Case, a concentration of productions for foreign producers and critics that reflects quite accurately the Golden Mask’s complete spoken theatre selection (as distinct from other forms of theatre such as dance, for example). Her review observes that a cluster of productions refers to rebellions and revolutions that preceded the 1917 October Revolution, while none deals with material directly related to this event. Remaining works allude in various ways to more recent Russian and global history, showing how its makers are sensitive to a past that filters through the country’s, and the world’s, more than troubling present
Thomas Richards and Mario Biagini in Conversation with Maria Shevtsova 'With and After Grotowski'
No full textIn 1996, Jerzy Grotowski changed the name of his Workcenter at Pontedera in Italy to that of the Workcenter of Jerzy Grotowski and Thomas Richards, and it was here that Richards and his associate Mario Biagini developed the Actions that had originated with their thirteen years of close collaboration with Grotowski before his death in 1999. Dies Irae was premiered in 2004. Various research projects led by Richards and/or Biagini include Tracing Roads Across (2003–06) and Open Programme, which began in 2007. Such works as I am America, crafted on the poems of Allen Ginsberg, and Electric Party, both directed by Biagini and first performed in 2009, have emerged from Open Programme. A recently ‘finalized’ work, The Letter (2008), directed by Richards, was the result of a long process of development that passed through three major phases and two differently named Actions, starting in 2003. Richards is the author of At Work with Grotowski on Physical Actions (1995) and Heart of Practice (2008), while Biagini has edited, with Antonio Attisani, the three-volume Opere e Sentiere (2007 and 2008). The conversation below is an edited version, in consultation with Richards and Biagini, of their discussion with Maria Shevtsova in November 2008, as part of her ‘Conversations’ series at Goldsmiths, University of London. These last pupils of Grotowski give uncommon insight into the processes of their work together, continuing their generous and open reflections in their responses to questions from members of the audience
Maria Shevtsova in Conversation with Eugenio Barba, Reinventing Theatre
No full textEugenio Barba here discusses the desires and ideas driving his early years as a practitioner, some of the creative, social, and ethical principles underlying the work of the Odin Teatret, which he founded in 1964, and the group's most recent, new-style ‘barter’ events with and within local communities. His public dialogue with NTQ co-editor Maria Shevtsova and members of the audience provides fresh insight into the workings of one of the most influential figures, and one of the most widely known non-official theatre collectives, of the late twentieth century. The conversation took place on 31 October 2005 at Goldsmiths College, University of London, during the Odin's UK tour (as documented in the ‘Reports and Announcements’ section of NTQ 86), and included questions from the audience and concluding words from Odin performer Iben Nagel Rasmussen, who had performed White as Jasmin earlier in the evening. The transcript of this conversation, inaugurating a series of such public conversations at the Department of Drama and Theatre Arts at Goldsmiths, was edited for publication with the full and warm collaboration of Eugenio Barba
The Cambridge Introduction to Theatre Directing
No full textThis Introduction is an exciting journey through the different styles of theatre that twentieth-century and contemporary directors have created. It discusses artistic and political values, rehearsal methods and the diverging relationships with actors, designers, other collaborators and audiences, and treatment of dramatic material. Offering a compelling analysis of theatrical practice, Christopher Innes and Maria Shevtsova explore the different rehearsal and staging principles and methods of such earlier groundbreaking figures as Stanislavsky, Meyerhold and Brecht, revising standard perspectives on their work. The authors analyse, as well, a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Elizabeth LeCompte, Peter Sellars, Robert Wilson, Thomas Ostermeier and Oskaras Koršunovas, among many others. While tracing the different roots of directorial practices across time and space, and discussing their artistic, cultural and political significance, the authors provide key examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors
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