О перформативности современного (пост)документального театра

Практики & Интерпретации: журнал филологических, образовательных и культурных исследований. 2018. Т. 3. № 1. С. 131–145.

Гордиенко Е. И.

The article examines Russian theatrical productions of the 2010s “Before and A er” (directed by Dmitry Brusnikin), “Donetsk. Platform-2” (directed by Anatoly Praudin), “Vyatlag” (directed by Boris Pavlovich), “Diary of a peasant” (directed by Anastasia Patlay), “ e Hero City”
(authors Ekaterina Bondarenko, Marat Gatsalov, Tatiana Rakhmanova), “The Investigation” (directed by Mikhail Tychinin), and “Implicit e ects” (Commissioner Vsevolod Lisovsky), which can be called post-documentary (using the term coined by Zara Abdullaeva). In them, the focus on the documentary material is transferred to its utterance at a particular place and time, the collected interviews or diary entries from the past are supplemented by today’s stories of actors and spectators.  e post-documentary theatre includes as a document the characteristics of interviewing, the memories of the artists, and the reaction of spectators. Such an extension of the concept of the document indicates the adoption of the aesthetics of performativity by the documentary theatre.

Keywords: современный театр, перформативность, Russian theatre, documentary, документальный, contemporary theatre, Interactive documentary, aesthetics of performativity, современный российский театр, документальный театр