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Theatre and Performance in Eastern Europe The Changing Scene
978-0-8108-6023-0 • Paperback
December 2007 • $65.00 • (£39.95)
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Pages: 290
Size: 6 x 9
Edited by Dennis Barnett and Arthur Skelton
Contributions by Dennis C. Beck; Tatiana Boborykina; Robert Cohen; Jane Duncan; Cynthia Goatley; Maria Ignatieva; Rhona Justice-Malloy; Bla? Lukan; András Márton; Bosko Milin; Dijana Milo?evic; Jana Návratová; Sanja Nikcevic; Naum Panovski; Lisa Peschel; Gregory Sporton; Goran Stefanovski; Meg Swanson; Kornelia Tancheva; Ana Vujanovic and Vessela Warner
 
Performing Arts | Theater / History & Criticism
Scarecrow Press
The fall of communism throughout Eastern Europe brought about major socio-political changes towards the end of the 20th century. Dennis Barnett and Arthur Skelton explore the effects these changes had on theatre and performance in Russia, the former Czechoslovakia, Poland, Hungary, Romania, Bulgaria, and the former Yugoslavia, while drawing clear parallels with theatre globally. This fascinating collection of articles describes the various factors contributing to the changes in theatrical performance, including the important move from government control to a capitalist, market-driven environment. The idea of art as business and a consumer product vs. art as a social prerogative or means for national dialogue is a common thread throughout the articles, many of which also look at the role of censorship during the communist era.

This collection includes updated reports on vital cultural institutions such as the Moscow Art Theatre, the Bolshoi Ballet, the Sarajevo International Theatre Festival (MESS), and the Hungarian National Theatre Festival at Pécs. Also, a number of important theatre practitioners, directors, and playwrights, such as Boris Eifman, Du?an Kovacevic, Slobodan ?najder, Arpad Goncz, and Yordan Radichkov, are introduced to the Western reader. Organized according to country, the book presents both an inclusive and general overview of the subject—as well as specific in-depth examinations of the situations in each country—and includes a broad variety of perspectives: from native scholars to outside researchers, from personal memoirs to academic inquiries. The volume concludes with a bibliography, an index, and five informative appendixes listing works of some of the artists and companies discussed.
Dennis Barnett is assistant professor of theatre at Coe College in Cedar Rapids, Iowa. He was a professional actor and director for nearly twenty years, and co-founded and directed Upstart Stage in Berkeley, California.

Arthur Skelton is an associate researcher and the former senior lecturer in Drama at the Moray House Faculty of Education in the University of Edinburgh.
Part 1 Acknowledgments
Part 2 Introduction
Part 3 Part 1: Russia
Chapter 4 1. Power as Nostalgia: The Bolshoi Ballet in the New Russia
Chapter 5 2. A Little Orchestra of Hope: Sergei Artsybashev
Chapter 6 3. Boris Eifman's Theatre Enigma
Chapter 7 4. Oleg Tabakov at the Moscow Art Theatre: An Interview with Alexander Popov
Part 8 Part 2: Poland
Chapter 9 5. Looking for Politics in All the Wrong Places: Teatr Wybrzee's Educational Theatre Wybrazeak
Part 10 Part 3: Bulgaria
Chapter 11 6. Yordan Radichkov's Trying to Fly Against Aesthetic and Political Canons
Chapter 12 7. Post-Totalitarian Bulgarian Theatre and Drama: Experimenters and Literary Cinderallas
Part 13 Part 4: Romania
Chapter 14 8. The (R)evolution of Romanian Theatre
Part 15 Part 5: Former Czechoslovakia
Chapter 16 9. The Devil and Brezhnev's Eyebrows: Czech "Anti-fascist" Theater after the Warsaw Pact Invasion
Chapter 17 10. Exiling Time: Czech Theatre's Post-Communist Struggle to Reconcile Legacies with Change
Chapter 18 11. Nostalgia and Technology
Part 19 Part 6: Hungary
Chapter 20 12. Truth, Reality, and Illusion: Arpád Göncz and Hungarian Medea
Chapter 21 13. Theatre in Hungary from Past to Pécs, 1984—2001
Part 22 Part 7: Former Yugoslavia
Chapter 23 14. Tales from the Wild East
Chapter 24 15. Old New Times: A Search for a Cultural Identity in the Countries of the Former Yugoslavia
Chapter 25 16. Body in Context: Slovene Theatre at the End of the Transition
Chapter 26 17. Croatian Theatre and the War 1992—1994
Chapter 27 18. Making a "MESS" Out of Misery: The Sarajevo International Theatre Festival Ten Years After
Chapter 28 19. From the Myth of Artistic Independence to the Myth of Artistic Engagement
Chapter 29 20. Between Engagement and Escapism
Chapter 30 21. Laughing Through the Changes: The Palliative Theatre of Du?an Kovacevic
Chapter 31 22. The Role of the Artist in the Dark Times
Part 32 Appendix A: Selected Works of Boris Eifman
Part 33 Appendix B: Playwrights of the Post-Communist Czech Republic
Part 34 Appendix C: Sarajevo International Theatre Festival
Part 35 Appendix D: The Plays of Du?an Kovacevic
Part 36 Appendix E: DAH Theatre Performances
Part 37 Bibliography
Part 38 About the Editors and Contributors
Part 39 Index
This volume contains many interesting articles…. It does offer access to information on Eastern European theater and dance that is often difficult to find.
Slavic and East European Journal


 
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