The seeking fortheatricalizing theater itself and the ideal "new man", spread by Russian Avantgarde, are balanced with ring related changes. As a result, circus and theatrical activities had actively taken part in this unstoppable pursuit, on a hybrid and confluent relation. The revolutionary ideas had stimulated transformation in spectacles and artistic practices not only through politicization, but also through the pursuit of innovative poetics, in compliance with the aspirations of the time period. ![]() The desire for a new art engaged to The Socialist Revolution leads to important artistic reforms in Russia at the beginning of the 20th century. A este respeito, Vladimir Maiakóvski e Vsévolod Meyerhold são fi guras significativas. É neste contexto que diversos artistas vão se apropriar das atividades do circo, numa relação de simbiose entre o palco e a pista. O almejar de uma teatralização do teatro e o ideal de “homem novo” difundido pela vanguarda estão em consonância com as mudanças relativas ao picadeiro. circenses e teatrais participavam ativamente desta busca desenfreada, porém numa relação de confl uência e hibridismo. As idéias revolucionárias estimularam as transformações do espetáculo e das práticas artísticas não somente através de sua politização, como também pela busca de uma poética inovadora em conformidade com as aspirações da época. She is currently completing her doctoral thesis on the history and significance of documentary theatre in twenty-first-century Russia.ĭiv>O desejo por uma arte nova e engajada na Revolução Socialista conduz a importantes reformas artísticas na Rússia no início do século XX. Molly Flynn is a doctoral candidate in Slavonic Studies at the University of Cambridge. Setting the piece in a theatrical courtroom, the creators of One Hour Eighteen place their work in the context of Russia's judicial history in the previous century, during which the resemblance of trials to theatre has often been uncomfortably close. The play uses verbatim texts from the prison and medical staff directly involved in the final days before the murder of Russian attorney Sergei Magnitskii in 2009. In this article Molly Flynn offers a close reading of one of the most politically charged productions to have emerged from Moscow's booming documentary theatre – One Hour Eighteen: the Trial that Wasn't but Should Have Been (2010). In a fifteen-year time span documentary forms have come to the forefront of Russia's theatrical avant-garde. Twenty-first-century Russian theatre artists have increasingly taken to using material from real-life events to explore the intricacies of injustice in the civic sphere and its connection to the country's past. ![]() With her challenge to the notion of a singular, unified body, the pregnant woman points to new philosophical models of the self – possibilities that have yet to be explored fully on screen, but towards which the two contemporary Russian films discussed in this essay may point. They also prompt us to recall that feminist thinkers have turned to the pregnant body as a source of insight. These films highlight the pregnant woman’s destabilising potential, one that challenges the Russian state’s increasingly fervent incursion into the intimate realm separ- ating life and death. The folk symbolism of pregnancy facilitates the directors’ subtle critiques of contemporary Russian society, including its cynicism casual, ubiquitous violence and rigid gender hierarchies. Both films enlist the symbolism with which Russian traditional culture has infused that body to create complex, nuanced cinematic depictions of the porousness between the realm of the living and that of the dead. This article focuses on two recent Russian films – Vasilii Sigarev’s Living (2012) and Natasha Merkulova and Aleksei Chupov’s The Man who Surprised Everyone (2018) – that exploit the multivalent poten- tial of the pregnant body.
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