Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595654
Title: Tracing the laboratory line : The phenomenon of the theatre laboratory and its manifestations in Russia
Author: Brown, Bryan Keith
Awarding Body: University of Leeds
Current Institution: University of Leeds
Date of Award: 2013
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Full text unavailable from EThOS. Thesis embargoed until 01 Jul 2018
Abstract:
At the beginning of the twenty-first century, the term 'theatre laboratory' has entered the regular lexicon of theatre artists, producers, scholars and critics alike. However, use of the term is far from unified, often operating as an overarching referent for a web of intertwining practices, territories, pedagogies and ideologies. Despite numerous studies on individual practitioners and practices, there is a noticeable gap in scholarship on the theatre laboratory itself. The aim of this present study is therefore to refine the currency_ of the term's contemporary usage through an investigation of the organisational structures of the theatre laboratory as they have developed in Russia. Russian theatre provides a clear emergence of laboratory practice that can be divided into two distinct organisational archetypes: the studio and the masterskaya. These archetypes have roots in Russian culture and history but can be extrapolated into other cultures as they inform the basic structures for organising approaches to work. Scholarship investigating the history of the science laboratory and the painter's studio has uncovered similar archetypes. Uniquely drawing upon the field of laboratory studies. this thesis reveals a complex history of the laboratory's characteristics and functions that support the term's use in theatre. Although discursive in approach and historical in its scope, the present study has been informed substantially by contemporary practice. The characteristics of each archetype have been identified through interviews with. and examinations of, contemporary practitioners including Slava Polunin, Anatoli Vassiliev, Sergei Zhenovach and Dmitry Krymov, none of whom are well-known in English-language scholarship. Likewise, the majority of Russian texts consulted for this study have rarely been used in English, being recently published archival material, doctoral theses, or press articles. Combining a range of scholarship with examples of contemporary practice, this thesis aims to refine conceptions of the term theatre laboratory.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.595654  DOI: Not available
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