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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The theatrical circumstances in Western Europe have been changed rapidly and variously since the Second World War. One of the important changes in European theatrical world after the Second World War-directors' perception around the social role of a theater and the necessity of 'new' theater, that is 'theater for everybody'. In connection with this, it was appeared several types of theaters and conceptions about them such as 'popular', 'collaborative' or 'ensemble' theatre. However, since the 1980s the vision of collaborative, ensemble theater began to fade out in the western countries. The main reasons consist in the change of government policies under the name of 'economic realism' and commercialism.
Meanwhile, it is worthy of notice that the tradition of ensemble theater might have been more nicely preserved in Russia and East European countries, in which Stanislavsky's ensemble concept and well-structured repertoire system are still retained despite vestiges of bureaucracy and enormous changes of the recent socio-political system. In relation to this, Lev Dodin and the Maly Drama Theater are appreciated as one of the best ensemble companies in the world. In the early 1990s, Strehler observed that Dodin was the only director alive whom he considered to be his rival, while Brook noted that the Maly Theater was 'the finest ensemble theater in Europe'.
The Maly's ensemble work is deeply related to the Russian tradition of 'theater-home', 'theater-family' dated from the creative principles of Stanisalysky's ensemble work. The Maly's ensemble dynamics can be seen through the whole working process to performance which contains training of actors, their reading and improvising, devising and rehearsing. This process is a long journey for developing the sensory receptivity and responsiveness of each actor and between actors, for reinforcing their ensemble identity, and moreover, for realizing the co-authoring work. Dodin as a 'catalyst' always focuses on 'mind-body-spirit fusion' of actors and their 'inner energy', and endeavors to lead actors to spiritual, intellectual and cultural development of the human being. The Maly's ensemble spirit, its' identity and working process give us much room for thinking around the meaning of theater, it's role on contemporary society and life 'itself.
Meanwhile, it is worthy of notice that the tradition of ensemble theater might have been more nicely preserved in Russia and East European countries, in which Stanislavsky's ensemble concept and well-structured repertoire system are still retained despite vestiges of bureaucracy and enormous changes of the recent socio-political system. In relation to this, Lev Dodin and the Maly Drama Theater are appreciated as one of the best ensemble companies in the world. In the early 1990s, Strehler observed that Dodin was the only director alive whom he considered to be his rival, while Brook noted that the Maly Theater was 'the finest ensemble theater in Europe'.
The Maly's ensemble work is deeply related to the Russian tradition of 'theater-home', 'theater-family' dated from the creative principles of Stanisalysky's ensemble work. The Maly's ensemble dynamics can be seen through the whole working process to performance which contains training of actors, their reading and improvising, devising and rehearsing. This process is a long journey for developing the sensory receptivity and responsiveness of each actor and between actors, for reinforcing their ensemble identity, and moreover, for realizing the co-authoring work. Dodin as a 'catalyst' always focuses on 'mind-body-spirit fusion' of actors and their 'inner energy', and endeavors to lead actors to spiritual, intellectual and cultural development of the human being. The Maly's ensemble spirit, its' identity and working process give us much room for thinking around the meaning of theater, it's role on contemporary society and life 'itself.
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