When the Moscow Art Theater appeared in New York in 1924, it was the apostle of a new dramatic naturalism bent on depicting man's inner torment through an intense psychological probing. Some forty years later, one of the world's greatest art theaters occupies only an insignificant position in the world of art. Why is this so? It is the purpose of this dissertation to answer this question by a careful analysis of the trends in the repertoire of the Moscow Art Theater. An analysis of the repertoire reveals several major trends in the Theater's repertoire after the Revolution of 1917. These trends are revealed through performances in the following areas: (a) Russian classical plays; (b) Adaptations of Russian classical novels; (c) Translations of West European classical plays; (d) Mikhail Bulgakov and his controversial plays; (e) Modern Soviet drama. An analysis of carefully selected plays from each trend reveals how the Moscow Art Theater was systematically sapped of all its inner vitality and enslaved to a regime. The resultant loss of creative endeavour and the Theater's reliance on the Russian classics in the years following World War II confirms the indivisibility of art and freedom. Some of the Moscow Art Theater's trends were established before the Revolution of 1917. This dissertation therefore, begins by tracing the Theater's repertorial trends since the first performance in 1898. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Depuis les années mille neuf cent soixante-dix, l'autobiographie littéraire ne cesse de susciter un intérêt croissant et les travaux critiques à son sujet sont actuellement nombreux. Cependant, aucune étude théorique exhaustive sur l'autobiographie uniquement théâtrale n'existe à ce jour. Face à cet écart flagrant entre la pratique existante et la théorie manquante, il semble nécessaire d'apporter une contribution à la théorisation et à la classification de cette catégorie problématique. La présente thèse, dont le titre se réfère à l'ouvrage charnière de Philippe Lejeune Pour l'autobiographie, s'interroge dans un premier temps sur la crise des genres (autobiographique et théâtral) afin d'analyser l'histoire et la genèse de l'autobiographie dramatico-théâtrale à partir du Drame de la vie de Restif de la Bretonne. Cette recherche se doit cependant non seulement de défendre un genre déprisé, mais également de plaider pour son existence.Étant donné l'essor du théâtre autobiographique après la Seconde Guerre mondiale (dont l'Histoire générale ne cesse de contaminer l'histoire intime des autobiographes en question), ce travail porte sur l'insertion de l'autobiographie dans les drames et les spectacles européens de la seconde moitié du XXe siècle. Les exemples choisis mettent en lumière les créateurs investis entièrement dans la mise en espace de leur propre histoire : de l'écriture, en passant par la scénographie et la mise en scène, jusqu'au jeu et / ou présence scénique. Les critères de sélection des œuvres du corpus (six cas d'études principaux : Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) portent sur le rapport direct des écrivains dramatiques à la conception du spectacle vivant, et soulèvent par là la question de la création totale, de la transformation des genres, de l'(ir)représentabilité de l'autobiographie sur scène et de la (re)construction de soi et de son passé par le biais d'un spectacle théâtral. Le dialogue constant entre l'histoire personnelle de l'auteur (autobiographie mise en forme) et l'Histoire générale (mémoires subjectivisés) constituera donc le motif privilégié de cette étude.Cette étude a ainsi pour vocation d'apporter non seulement une contribution à la définition et à l'évolution du théâtre autobiographique, en démontrant les spécificités et les caractéristiques communes des œuvres théâtrales de soi, mais aussi – ou avant tout – d'identifier ce que le théâtre apporte au genre autobiographique et par quel(s) moyen(s) il permet de le renouveler. Le cheminement proposé permet d'observer la genèse et l'évolution du théâtre autobiographique dans lequel la matérialité de la scène occupe une place grandissante : l'histoire du genre dans la première partie, la réécriture d'une autobiographie en prose en une pièce dramatique (par Duras et Ionesco) mise en scène par un artiste associé et accompagné dans la seconde partie, la participation active de l'autobiographe à la mise en scène collective de sa pièce intime (Anouilh, Grumberg) dans la troisième partie, la déconstruction du texte dramatique préexistant cédant le premier rôle au plateau (Różewicz, Kantor, Podehl) dans la quatrième partie. C'est ainsi que le mélange de l'onirisme et de la plasticité (Mądzik, Znorko) constitue en quelque sorte l'aboutissement de cette forme d'expression de soi et permet de saisir au mieux l'essence-même du théâtre autobiographique qui ne doit plus raconter la vie de l'autobiographe, mais la recréer dans l'espace. / Since the Seventies of the twentieth century literary autobiography has been arousing deep interest among the researchers and a plethora of critical works have been written on the issue. Yet to this day there is no comprehensive resarch work on the subject. In consideration of a surprising discrepancy between the existing theatre practice and the missing theory, theorisation and classification of this problematic category seems indispensable. This doctoral thesis, the title of which refers to the work of Philippe Lejeune entitled « Pro the autobiography », sees the crisis of forms (the dramatic and theatre forms) and literary genres (the autobiographical genre) a reason for the genesis of dramatic-theatrical autobiography, the story of which will be followed starting with Restif de La Bretonne's « The life's play ».Taking into consideration the development of the autobiographical theatre after the Second World War (the general history of which influenced formation of the intimate history of the autobiographical authors subjected to analysis), the present thesis takes on the task of analysis of the relationship between autobiography and the European theatre of the second half of twentieth century. The selected works present the profiles of dramatic authors fully dedicated to staging the story of their lives : starting with the process of writing a play, through stage design and stage direction to acting or/and stage presence. The selection criteria regarding the analysed works (the six principal playwrights being Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) are based on the direct relationship between the dramatic writers and a theatre performance and take up the issues of total creation, form-genre metamorphosis of works situated on the border between (auto)biography, historical memoirs and diary as well as the possibility of staging the autobiography and reconstruction of one's self and one's past through the medium of a performance.The aim of this treatise is not only presentation of theorisation and periodisation of the autobiographical theatre through distinction of the specifics of each of the analysed works and pointing out the common features but also presenting the elements the theatre introduces to the autobiographical genre and the way it enables its renewal. The suggested way of subject presentation allows to follow the development of the autobiographical theatre where the stage materiality plays increasingly significant role : the first part is dedicated to the analysis of the genre history, while the second one – to the issue of transcribing and transforming the autobiographical prose into a stage play (based on the example of Duras and Ionesco) directed by a thrid party in presence of the author, the third one – to the issue of active participation of the author in the process of collective staging of his autobiographical work (based on the example of Anouilh and Grumberg), the fourth one – to the issue of deconstruction of a dramatic text giving way to the theatre stage (the theatre of Różewicz, Kantor, Podehl). Thus the symbiosis of onirism and graphicality (the visual theatre of Mądzik or Znorko) becomes in a way the crowning of this form of personal statement and allows to capture the essence of autobiographical theatre the aim of which is not telling life but its reconstruction in the space. / Since the Seventies of the twentieth century literary autobiography has been arousing deep interest among the researchers and a plethora of critical works have been written on the issue. Yet to this day there is no comprehensive resarch work on the subject. In consideration of a surprising discrepancy between the existing theatre practice and the missing theory, theorisation and classification of this problematic category seems indispensable. This doctoral thesis, the title of which refers to the work of Philippe Lejeune entitled « Pro the autobiography », sees the crisis of forms (the dramatic and theatre forms) and literary genres (the autobiographical genre) a reason for the genesis of dramatic-theatrical autobiography, the story of which will be followed starting with Restif de La Bretonne’s « The life’s play ».Taking into consideration the development of the autobiographical theatre after the Second World War (the general history of which influenced formation of the intimate history of the autobiographical authors subjected to analysis), the present thesis takes on the task of analysis of the relationship between autobiography and the European theatre of the second half of twentieth century. The selected works present the profiles of dramatic authors fully dedicated to staging the story of their lives : starting with the process of writing a play, through stage design and stage direction to acting or/and stage presence. The selection criteria regarding the analysed works (the six principal playwrights being Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) are based on the direct relationship between the dramatic writers and a theatre performance and take up the issues of total creation, form-genre metamorphosis of works situated on the border between (auto)biography, historical memoirs and diary as well as the possibility of staging the autobiography and reconstruction of one’s self and one’s past through the medium of a performance.The aim of this treatise is not only presentation of theorisation and periodisation of the autobiographical theatre through distinction of the specifics of each of the analysed works and pointing out the common features but also presenting the elements the theatre introduces to the autobiographical genre and the way it enables its renewal. The suggested way of subject presentation allows to follow the development of the autobiographical theatre where the stage materiality plays increasingly significant role : the first part is dedicated to the analysis of the genre history, while the second one – to the issue of transcribing and transforming the autobiographical prose into a stage play (based on the example of Duras and Ionesco) directed by a thrid party in presence of the author, the third one – to the issue of active participation of the author in the process of collective staging of his autobiographical work (based on the example of Anouilh and Grumberg), the fourth one – to the issue of deconstruction of a dramatic text giving way to the theatre stage (the theatre of Różewicz, Kantor, Podehl). Thus the symbiosis of onirism and graphicality (the visual theatre of Mądzik or Znorko) becomes in a way the crowning of this form of personal statement and allows to capture the essence of autobiographical theatre the aim of which is not telling life but its reconstruction in the space.

This thesis explores temporal forms of architectural meaning through the investigation of the dramatic space of "ritual theatre." In particular, it analyzes the thought and several theatrical productions of the twentieth century Polish theatre director, Jerzy Grotowski: Grotowski is of particular interest because he designed a "total dramatic space" that incorporated both the actors and the spectators (although without necessarily integrating them) for each of his dramatic works. In each case, the spatial relationships created by the theatrical architecture were indissolubly connected to the meaning of the drama itself. In this way, space was used as a kind of third protagonist that, along with the actors and spectators, participates in the theatrical ritual.

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This thesis deals with the acting, directing and authorial personality of Vitezslav Marcik. The text was based on researches in regional and national press and sorting by that time disarranged Marcik?s archive. An important source of information was the website of Teatr Viti Marcika and also personal recollections of family and colleagues. The main part of the work is clear, chronological account of Marcik?s career in 20 chapters, in which we watch changes of the theatre´s action radius in the course of years and how its repertoire and dramaturgy developed.

The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge.

Ma thèse de doctorat explore les tournées de ballet des « six grandes » compagnies mondiales pendant la Guerre froide (1945-1968) :ballet de l’Opéra de Paris, Royal Ballet de Covent Garden, Bolchoï et Kirov, New York City Ballet et American Ballet. Elle envisage le ballet comme un outil de diplomatie culturelle transnationale, avec un focus particulier sur les acteurs, qu’ils soient institutionnels, artistiques ou commerciaux. Outre un aspect quantitatif qui nous a amené à cartographier les tournées, il s’agit d’une histoire incarnée par des femmes et des hommes − les danseurs − dont le métier est de tourner sur les scènes internationales, encadrés par des administrateurs et des gouvernements, qui n’ont pas les mêmes priorités et agendas les uns et les autres. <p>Cette recherche met justement en avant les tensions, les difficultés et les dynamiques entre les différents acteurs. La thèse se construit autour de tournées représentatives du lien ténu entre danse et politique, des épisodes qui mettent en valeur les points chauds de cette Guerre froide, ayant comme point de départ ou d’arrivée Londres et Paris.<p>La description de la danse comme un langage, une pratique physique et un métier permet de comprendre en quoi la danse peut être un outil de communication politique et comment il a été utilisé comme tel dans la longue durée et en particulier pendant la guerre froide. Les différentes échelles – le passage régulier de la macro-histoire à la micro-histoire et inversement ainsi que les flux d’échanges culturels multiples à l’échelle internationale – ont permis de mettre en avant une multiplicité d'acteurs (artistiques, gouvernementaux, commerciaux). La constitution du mythe de la danseuse étoile, et ses représentations, résonne également avec d’autres figures mythiques construites dans la Guerre froide, comme celle de l’astronaute. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished