Depoliticization of New Drama: The Phenomenological Turn
Abstract
The beginning of this century in Russia was marked by the emergence of the “new drama” movement in the theater. It included very different directors and playwrights: from Kirill Serebrennikov to Elena Gremina, from Ivan Vyrypayev to Vasily Sigarev. At the same time, they all addressed the theme of the excluded: migrants, the homeless, victims of violence and bullying. But while similar movements in Europe were directly linked to a specific ideology, in Russia the opposite happened. Theatrical criticism of society did not enter the political plane, such as activism. It happened in parallel with the depoliticization of public space, the creation of consumption and media infrastructure. At the same time, the assessment of this current as political still remains dominant. Rethinking this approach, the article analyzes formal techniques, general artistic methodology and introduces the concept of “depoliticization” to describe the aesthetics of new drama.
About the Author
V. Nikitin
Theatre Studies Faculty, Russian Institute of Theatre Arts (GITIS)
Russian Federation
Russian Federation
Vitaly Nikitin
Moscow
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Review
For citations:
Nikitin V. Depoliticization of New Drama: The Phenomenological Turn. Versus. 2023;3(6):168-187. (In Russ.)
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