Part 2. Magic/Mania of History: The Past instead of the Present and the Future

This is an Editor's note and does not have an abstract

Montage as the Meaning-generative Principle of Avant-garde: From Montage in Cinema to Montage in Theatre (Soviet and Post-Soviet Theatre and Cinema)

The principle of montage was a discovery of the avant-garde that is still widely used in modern culture. The article discusses how montage from a technique applied in early cinematography came to play a crucial role in organization of various texts produced by different arts, in particular, theatre. The avant-garde art strove to transform daily life and the montage principle was inextricably linked to these value orientations. This research analyzes the potential of montage as a meaning-generative mechanism in avant-garde films and theatre performances in the 1920s and 1930s. This principle gained significance for theatre in the second half of the twentieth and the early twenty-first century. The article investigates the connections between Soviet avantgarde theatre and cinema and explores the reasons why the interest to the montage principle was revived in Yury Lubimov’s theatre and in the post-dramatic theatre of Dmitry Krymov.   Keywords: avant-garde; montage; postdrama; Dziga Vertov; Vsevolod Meyerhold; Dmitry Krymov; Yury Lubimov; Sergey Eisenstei

Olga Shaburova, Sovetskii mir v otkrytke [The Soviet World in Postcards] (2017) Moscow-Ekaterinburg: “Kabinetnyj uchenyj”

Received 13 March 2017. Published online 29 September 2017

Representations of Contemporary Cultural Challenges in Russian Cinema (Based on the Short Film Genre)

The article presents the analysis of the short films included in the competition program of the 28th ‘Kinotavr’ Open Festival of Russian Cinema in 2017. Young Russian cinema is almost entirely concerned with the present, which is everywhere: in the filmmakers’ age; in the cinematic themes, which, as a rule, avoids the past; in a new accelerating tempo; and in the grappling with the challenges of modern culture. In the films we explore here, modernity is complicated, uncertain, unpredictable, and full of new risks. The directors offer different strategies for dealing with the challenges: absurdization, mythologization, open-ended aesthetics.     Keywords: short film, modernity, uncertainty, unpredictability, human-made risk

Post-dramatic Performance: Semantics and Pragmatics (Based on the Play Shpalikov Staged By the Yeltsin Center Theatre Platform “In the Center”)

The article is devoted to the understanding of the phenomenon of modern theatre, defined by the German theater critic Hans-Thies Lehmann as “post-dramatic theatre”. The purpose of the article is to show the mode of existence of post-drama in the real theatrical process. From Lehmann’s point of view, post-drama is not a new direction in art, but a state of the theater in which it emancipates from the literary source. The post-dramatic theatre breaks the tradition of narrative art and abandons the rigid structure of the play. The semantics of post-drama is considered in the tradition of contextualism, when the meaning directly depends on the context. The contextuality of the play Shpalikov is its semantic field. The pragmatics of post-drama is in the creation of a new polylinguistic space. Post-drama changes all the language elements of the theatre, including the audience’s expectations. Keywords: Lehmann, semantics, pragmatics, “post-dramatic theatre”, theatre platform “In the Centre”, the play Shpaliko

Theatrical Dialogue in the Digital Age: From Director’s Theatre to the Theatre Onscreen

Received 4 June 2020. Accepted 20 December 2020. Published online 29 December 2020.Thanks to its inherent nature, theatre has been better able than other artforms to resist the challenges presented by information and digital culture, which are based on the principle of reproduction. Since a theatrical text is created anew each time, an audience can enter into a real-time dialogue with a concrete group of players recreating an authorial concept. This is true even when, as in director’s theatre, a director’s interpretation is performed by different acting companies. Today, however, the hubris of theatre critics and enthusiasts, who value unmediated dialogue as a pre-condition of theatrical pragmatics, has collided with the novel theatrical practice of live broadcasting, which was preceded by the standalone genres of radio and television plays. As a performance art, theatre possesses characteristics of a virtual object, where the information about such an object exists only in the memories of audiences or professional critics. In becoming digitised, theatre loses its former character – the uniqueness of presence in a concrete theatrical here-and-now that can never be repeated – and acquires a new mode of existence within a movie theatre represented in Russia by the Theatre HD project, which translates the theatrical educational mission into the digital age by involving new participants in creative dialogue

The Films of Aleksey Fedorchenko: Between Cultural Mythmaking and Playing with a Document

The article was submitted on 20.01.2021.Представлено исследование корпуса фильмов Алексея Федорченко с целью обнаружения доминанты его художественного мира. Художественный мир Федорченко складывается из установок документального кино с его ориентацией на факт, достоверностью архивных источников, доверием физической реальности и обращением к законам искусства представления, где свободная игра с реальностью в ее самых разнообразных формах (от документирования до мистификации) становится доминирующей. Режиссер создает свой целостный мир (игрового и неигрового кино), основанный на мифотворчестве как средстве миропонимания, миростроения, миропереживания. Первым методологическим основанием анализа фильмов служит культурологическая концепция, в которой искусство понимается не только как самосознание культуры, но и как предмет, зависящий от всех подсистем культуры (материальной и духовной). Автор обнаруживает культуроцентристскую доминанту художественного сознания А. Федорченко, ориентированного на рефлексивное отношение к культуре (традиции). Данный тип художественного сознания не игнорирует природу и миметическое следование ей, но доминирующим, определяющим исток художественного творения становится сознательное отношение к культуре как материалу, требующему интерпретации. В качестве исходного материала и пространства культуры в кинематографе Федорченко выступает миф как авторский способ освоения и репрезентации культуры. Режиссер не занимается экранизацией мифов, он творит их, используя логику мифологического нарратива, особенности мифологического пространства и времени. Вторым методологическим основанием статьи являются классические концепции мифа А. Лосева, Р. Барта, М. Элиаде. Основные источники исследования – документальные и игровые фильмы режиссера, а также фильмы в жанре мокьюментари, представляющие собой документальные мистификации. Результаты исследования определяют то, как документальные исторические события приобретают характеристики мифа, а мифотворчество становится ключом к пониманию истории.This article studies the films of Alexey Fedorchenko in order to discover the dominant features of his artistic world. This is based on the guiding principles of documentary filmmaking, with its commitment to fact, the reliability of archival sources, trust in physical reality, and addressing the laws of the art of presentation, where a free play with reality becomes a dominant feature in its most diverse forms from documentation to mystification. The director creates his own coherent world of fiction and non-fiction, based on strategies of the cultural matrix of mythmaking as a means of understanding and experiencing the “arrangement” of the world. The purpose of the article is to study Fedorchenko’s films in order to discover the dominant feature of his artistic world. The first methodological basis for the analysis of his films is a cultural concept of art where art is understood not only as the self-consciousness of culture, but also as an object that depends on all subsystems of culture, both material and spiritual. The cinematography of Fedorchenko stems from a special type of artistic consciousness, which determines (predetermines) the subject and conceptual sphere of his artistic expression. Analysing the films of Fedorchenko, the author identifies the dominant feature of his artistic consciousness, which is focused on a reflective attitude towards culture and traditions. This type of artistic consciousness is understood as culture-centric. The culture-centric type of artistic consciousness ignores nature and its mimetic imitation, but at the same time, the dominating idea determining the source of artistic creation becomes a conscious attitude to culture as material that requires interpretation in a new context, as a space that generates meanings. Fedorchenko uses myth as source material and cultural space in his films. However, he does not deal with the cinematic adaptation of myths. He creates them on his own, using the logic of a mythological narrative, the peculiarities of mythological space and time. That is why the second methodological basis of the article is the classical concepts from A. Losev, R. Barthes and M. Eliade. The author mostly refers to documentaries and feature films by the director, as well as his mockumentaries. The study identifies certain algorithms in which documentary historical events acquire the characteristics of myth, and mythmaking becomes a key to understanding the truth

Маркетингові дослідження ринку протипухлинних препаратів для лікування раку легенів

The results of the analysis of the marketing of anticancer drugs (AD) market are presented, namely physical, social and economic availability of drugs used to treat patients with lung cancer has been determined. It has been found that in the period from 2010 to 2015 the main tendency of the market segment development of the drugs studied was the private foreign domination. In the unstable financial situation in the country this tendency has negative consequences for the society. It has been proven that within 2010-2015 there was the growth of the average purchase prices for AD, the exception was 2013. It has been found that in 2010-2013 and 2015 the average value of accessibility for AD was greater than unity and varied in the range of 1.00 (in 2015) to 1.26 (in 2010). It should be assessed as a positive tendency of developing the pharmaceutical market segment studied.В статье представлены результаты маркетингового анализа рынка противоопухолевых препаратов (ПП): определена физическая и социально-экономическая доступность лекарственных средств (ЛС), которые применяются для лечения больных раком легкого. Установлено, что за период с 2010 по 2015 гг. главной тенденцией развития сегмента исследуемого рынка ЛС является значительное доминирование ПП иностранного производства. В условиях нестабильной финансовой ситуации в стране такая тенденция имеет негативные последствия для общества. Доказано, что в течение 2010-2015 гг. наблюдался рост средних закупочных цен на ПП, исключением был 2013 г. Установлено, что в 2010-2013 гг. и 2015 г. среднее значение доступности для ПП было больше единицы и колебалось в пределах от 1,00 (2015 г.) до 1,26 (2010 г.), что следует оценить как положительную тенденцию развития сегмента исследуемого фармацевтического рынка.У статті наведено результати маркетингового аналізу ринку протипухлинних препаратів (ПП):визначено фізичну та соціально-економічну доступність ліків, які застосовуються для лікування хворих на рак легені. Встановлено, що за період із 2010 по 2015 р. головною тенденцією розвитку сегмента ринку лікарських засобів, що досліджуються, є значне домінування ПП іноземного виробництва. За умов нестабільної фінансової ситуації в країні така тенденція має вкрай негативні наслідки для суспільства. Доведено, що протягом 2010-2015 рр. спостерігалося зростання середніх закупівельних цін на ПП, винятком був 2013 р. Встановлено, що у 2010-2013 рр. і 2015 р.середнє значення доступності для ПП було більшим за одиницю і коливалося у межах від 1,00 (2015 р.) до 1,26 (2010 р.), що слід оцінити як позитивну тенденцію розвитку сегмента фармацевтичного ринку, що досліджувався