15 research outputs found
La condamnation des Preux et la chute de Dem′jan Bednyj et d’Aleksandr Tairov
No full textAprès avoir situé le projet de mise en scène des Preux dans son contexte : la campagne contre le formalisme et le naturalisme de 1936, et rappelé que peu à peu, Aleksandr Tairov avait réussi à gagner la confiance des autorités culturelles, notamment grâce au triomphe de la Tragédie optimiste de V. Višnevskij (1933), je montrerai que ni le metteur en scène, ni l’auteur du livret des Preux, Dem′jan Bednyj, n’ont su décoder les signaux qui auraient dû les alerter. Le déplacement des accents sur de nouvelles figures héroïques, ainsi que la condamnation de la satire et de l’opéra bouffe, provoquèrent la condamnation du spectacle par le biais d’un décret qui fixa de nouvelles règles de présentation de l’histoire et des personnages à célébrer. L’échec fut fatal au théâtre qui fut fusionné de force avec une compagnie à l’esthétique très éloignée de la sienne. Il entraîna l’éviction de D. Bednyj de l’Union des écrivains et du Parti communiste et condamna Tairov à abandonner son combat en faveur d’un « acteur synthétique » et d’un répertoire ouvert sur l’Occident.After explaining the place of the project of staging Valiant Knights in the context of the campaign against formalism and naturalism in 1936, and after showing how Aleksandr Tairov gradually managed to win the trust of the cultural authorities, especially thanks to the triumph of The Optimistic Tragedy by V. Višnievskij (1933), I will show that neither the director Tairov nor the author of the libretto of the Valiant Knights, Dem′jan Bednyj, were able to decode the signals which should have alerted them. The shifting of the accents onto new heroic figures as well as the prohibition of satire and opera buffa provoked the condemnation of the show through a decree which fixed new rules of presentation of the history of Russia and of the characters to be lionized. The ban was fatal to the theatre which was merged with a foreign company of a very different style. It led to the ousting of D. Bednyj from the Union of Writers and the Communist Party and condemned Tairov to renounce to fight for ‘synthetic acting’ and a repertory open to western playwrights
Development of recommendations for improving the marketing communications of the enterprise
No full textДоступ до роботи тільки на території бібліотеки ОНЕУ, для переходу натисніть на посилання нижчеУ роботі розглядаються теоретичні аспекти маркетингової комунікаційної політики підприємства, особливості маркетингових комунікацій в аграрній сфері.
Проаналізовано стан основних економічних показників господарської діяльності ННЦ «Інститут виноградарства і виноробства ім. В.Є. Таїрова». Проведено аналіз маркетингового середовища підприємства.
Запропоновано основні напрямки удосконалення організації та планування маркетингової комунікаційної діяльності для ефективного функціонування ННЦ «Інститут виноградарства і виноробства ім. В.Є. Таїрова».The work deals with the theoretical aspects of marketing communication policy of the enterprise, features of marketing communications in the agricultural sphere.
Author analysis state of the main economic indicators of economic activity of NSC «V.Ye. Tairov Institute of Viticulture and Winemaking». The analysis of the marketing environment of the enterprise is carried out.
The main directions of improving the organization and planning of marketing communication activities for the effective functioning of the NSC «V.Ye. Tairov Institute of Viticulture and Winemaking»
Technicism in the Ukrainian avant-garde theatre : a clash of meanings and forms
No full textThe article examines the impact of technicism on the Ukrainian avant-garde theatre and how the subject of industrialisation was treated on stage as a result. Based on performances directed by Boris Glagolin (Ukraine), Les Kurbas (Ukraine), Erwin Piscator (Germany), Alexander Tairov (Russia), Igor Terentiev (Ukraine) and stage designed by Oleksandr Khvostenko-Khvostov (Ukraine), Vadym Meller (Ukraine), Anatol Petrytsky (Ukraine), and others, the author analyses the two varied trends on stages, both of which were a product of the evolving ideological tasks facing the European and Ukrainian theatres in the 1920s–1930s. A tendency that arose at some point among the aforementioned avant-garde directors to make a parody out of technicism-related ideas is also discussed.The article examines the impact of technicism on the Ukrainian avant-garde theatre and how the subject of industrialisation was treated on stage as a result. Based on performances directed by Boris Glagolin (Ukraine), Les Kurbas (Ukraine), Erwin Piscator (Germany), Alexander Tairov (Russia), Igor Terentiev (Ukraine) and stage designed by Oleksandr Khvostenko-Khvostov (Ukraine), Vadym Meller (Ukraine), Anatol Petrytsky (Ukraine), and others, the author analyses the two varied trends on stages, both of which were a product of the evolving ideological tasks facing the European and Ukrainian theatres in the 1920s–1930s. A tendency that arose at some point among the aforementioned avant-garde directors to make a parody out of technicism-related ideas is also discussed
Electrical conductivity of ceramics of SiC-AlN, SiC-BeO, Al/sub 2/O/sub 3/ in the temperature range 300-1800 K
No full textLa Tragédie optimiste de Vsevolod Višnevskij et sa réception critique
No full textЩЕРБАКОВА О., Оптимистическая трагедия Всеволода Вишневского и ее критика
«Оптимистическая трагедия », написанная Всеволодом Вишневским к пятнадцатилетней годовщине формирования Красной Армии, поставлена Александром Таировым на сцене Московского Камерного Театра в конце 1933 года. Пьеса становится настоящим театральным событием этих лет.
Совместная работа Вс. Вишневского и А. Таирова над постановкой пьесы дает интересные результаты : им удается объединить в ней художественный и политический театр. Спектакль о «морской стихии » соответствует исходной программе Камерного Театра с его началом музыки и пантомимы. Решающая роль ритма угадана, найдено пространство трагедии и ее лаконизм.
Однако критические выступления некоторых драматургов, в особенности безжалостная критика Максима Горького, заставляют Вишневского пересмотреть пьесу. Она претерпевает первые изменения уже в 1934 году, а в 1937 эти изменения становятся настолько значительными, что меняют общую тональность пьесы. Драматург отвечает на все критические замечания Горького. Отныне пьеса соответствует канонам «социалистического реализма », но, к сожалению, утрачивает свою художественную оригинальность.SHCHERBAKOVA О., Vishnevskij Optimistic Tragedy and its critical reception
Written to celebrate the 15 birthday of the Red Army, the play was first staged by Tairov at the end of 1933 at the Moscow Chamber Theater and had a certain success. Tairov and Vishnevski succeeded in creating a performance, which is both aesthetic and political. The play shows the positive role of the «commissars » in the reorganization of the Red Flot during the civil war. But the political message didn't mean a mere representation : Tairov continues his exploration of the theatrical space and of the specific ways of theatrical expression, such as pantomine.
However some critical accounts of the stage, included Gorky's one, obliged the author to write three years later a new version of the play, which is less original, but seemed closer to socialist realism.Créée pour le quinzième anniversaire de l'Armée Rouge, La Tragédie optimiste de Vsevolod Višnevskij est mise en scène par Aleksandr Taïrov au Théâtre de Chambre de Moscou à la fin de l'année 1933. La pièce devient un événement marquant dans le monde du théâtre de l'époque.
La collaboration entre Vs. Višnevskij et A. Taïrov donne des résultats intéressants : ils réunissent dans cette pièce le théâtre esthétique et le théâtre politique. Ce spectacle consacré à la Flotte Rouge, avec de grands mouvements de chœur, correspond au répertoire du Théâtre de Chambre explorant la musique et la pantomime. Le rythme tient un rôle prépondérant, l'espace de la tragédie est bien défini, son laconisme est cristallisé.
Cependant, la critique ne se fait pas attendre. Certains dramaturges et surtout Maksim Gor'kij publient des critiques virulentes qui forcent Višnevskij à remanier la pièce. Celle-ci subit ses premiers changements dès 1934. Trois ans plus tard ces modifications deviennent si importantes qu'elles donnent à la pièce une tonalité générale très différente. Le dramaturge tient compte ainsi de toutes remarques critiques de Gor'kij. La pièce correspond désormais aux canons du réalisme socialiste mais elle perd malheureusement son originalité artistique.Ščerbakova Oľga. La Tragédie optimiste de Vsevolod Višnevskij et sa réception critique. In: Cahiers slaves, n°8, 2004. Le « réalisme socialiste » dans la littérature et l'art des pays slaves, sous la direction de Michel Aucouturier et Catherine Depretto. pp. 77-109
The Formation of the Visual Theatre Aesthetics: Theater Practice and Experiments of the Russian Avant-garde in the 1900–1930s
No full textThe visual theater is now rapidly developing on the Russian stage. In such performances the director,
like an artist creates visibly embodied poetic images in the theater space and uses an actor
as an element of the stage composition. The works of “visualists” — R. Wilson, R. Castellucci,
J. Nadj, D. Krymov, “Engineering Theater AKHE”, etc. — clearly demonstrate one of the defining
trends of contemporary theatre: the transfer of effective activity from the verbal component to
the visual elements. However, despite the seeming novelty of techniques, the ideas developed by
modern directors in the visual theatre often turn out to be high-tech, but quite logical continuation
of theatre and artistic avant-garde experiments of the 1900–1930s. That was the time when
artists and directors began to explore intensively each other’s possibilities and started to move towards
each other. In the article the development of approaches to work with visual imagery as a
sense-making element of the performance is explored on the example of performances staged by
V. Meyerhold, A. Tairov, E. G. Craig (“Hamlet” in the Moscow Art Theatre, 1909–1911) etc. On
the example of theoretical works and scenic experiments of V. Kandinsky, K. Malevich, V. Tatlin
etc., it is studied how the Russian avant-garde started to bring under theatrical techniques. The
author analyzes the process of mutual influence between the theater and fine arts at the beginning
of the 20th century and establishes parallels between experiments of the 1900–1930s and
the main aesthetic conventions of modern visual theater
