포스트소비에트 연극의 새로운 극장시대－연극적 코스모폴리타니즘과 프로젝트연극시대의 개막

Abstract

The feature theme of 『Chiaitre (театр, play, theater)』, a leading Russian play magazine published in 2015, foreshowed a significant impact. This theme led to questions and discussions among the editors, including “can we ‘synthesize’ and ‘define’ aspects of Russian plays in the 21st century?” Eventually, after a long process of deep deliberation, they came to choose one of the concepts that can compress the new turning point and rudder of the contemporary Russian play. The concept is 「Import and export-them within us, us within them" (No21-22/2015) that is the controversial critical subject of 『Chiaitre』. Looking at the movement of the Russian theatrical world in the last 10 years, one can't help but admit that the title of this controversial criticism, which cannot be imagined from the Russian play as the mother of a grand realistic play that was at the center of world plays in the 20th century, is the most important concept to explain the recent decade of Russian plays in the 21st century. Davydova regarded the ‘unexpected’ and ‘unpredictable’ phenomenon as a major move in European plays as well as Russian plays, defining “the world of contemporary plays as a complete cosmopolitan world.” In support of this definition, at the center of the great change in Russian plays after Perrestroika is Russian theaters that maintain a critical view of their ecological nature and are at the center of experimentation and innovation in Russian plays after Perrestroika. This study will look at the flow of contemporary Russian plays after Perrestroika from an outsider's point of view. Based on the fundamental changes in Russian plays that have taken place around Russian theaters in recent years, the study attempts to examine the sites of experimentation and innovation in the new age of theater in Russian theaters in a historical and social context. Russian theaters are the front lines of modern Russian theaters that mirror the changing aspects of the world play, because it is the basis for understanding new trends in post-Soviet plays that have been practiced by Russian plays after post Soviet, through their operation of the new theater. From this viewpoint, the study will look into the process of discussing the concept of ‘the theater’ in the history of Russian plays and investigate how the function and role of the theater that emerged newly after Perrestroika led to theatrical and aesthetic innovations in contemporary Russian plays. Through the recent moves of these theaters, we will see the end of the age of repertory plays and the age of art directors, witness the evolution to the age of project plays, and look at the process of the transformation of a Russian theater, which used to be ‘a sacred ground’ and ‘a house,’ into a theater as a cultural complex.