표트르 포멘코 무대와 러시아적 초상

Abstract

Pyotr Fomenko(1932 ~ ), a renowned Russian director regarded as "the informal head of Russia, a country of theater, exerted Russia, his own stage and the Russian-ness. As a result, his stage is dubbed as 'the ground' in the Russian theater stage where the audience encounter their vestiges inscribed in the time and space of the race. In this sense, the stage as the ground and the vestiges of life inscribed on it are a proposal of the racial mentality of Russians who live a political, religious and cultural life in Russia. In this paper, the understanding of 'the ground' which the stage creates, 'life's vestiges' and the mentalities of the Russians that are depicted within are referred to as the 'portrait' in total. The word 'portrait' is defined as 'an image to emulate oneself in reality or an image made to be itself in painting or sculpture.' This portrait is based on the basic rule that it is a record of the external appearance, and the facet of the portrait even has an value to represent the perspective towards the reality and the life in the historical context. The space that the main character is in, and the life that unfolds in the very space implicit reveal the racial mentalities are connected to the former, while the relationship of the main character with the world in given circumstances is connected to the latter. In this sense, the word 'portrait' is the closes to the aim of this study. The purpose of this paper is to have a critical approach for the stage of Pyotr Fomenko as the portrait of Russia, a theater stage. To this end, I concentrate on the works of Fomenko from 1990. This study focuses on the recent works of his throughout his half a century of career as a director because Мастерская П. Н. Фоменко as his own sanctuary for theater is created to produce works for, of and by Fomenko. And this trend started to be found since the late 1990s when he worked with his pupils. To him, the Fomenko Theater was the optimal space and time to tout his theatrical ideals and experiments. This study chose not only <War and Peace. The beginning of the novel> of Tolstoi, an opening piece of his workshop but also <A completely happy village> of B. Vakhtin <Family Happiness>, <Triptych>, a three-episode play of Pushkin, and <Three sisters>, the most recent work of Chekhov. This play shown as the Fomenko Theater's representative repertoire is the essence of his directing work, and the most appropriate example to describe his stage as the ground. To approach his stage as the Russian-style ground in a critical manner, his stage must be understood as the 'space'. It is because the space is not a mere space but a theatrical ideal of his stage and a special text most intensively proposing his theatrical thoughts. This special 'space' is the basic background of his stage that consistently arranges his works within the common category of the Russian portrait and brings about his theatrical ideal and the philosophical landscape.