THEATRE STAGE DESIGN OF THE 20TH CENTURY AS CULTURAL DIPLOMACY
References: 3rd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2016, www.sgemsocial.org , SGEM2016 Conference Proceedings, ISBN 978-619-7105-53-7 / ISSN 2367-5659, Apr 06-09, Book 4, Vol.1, 407-414 pp, DOI: 10.5593/SGEMSOCIAL2016/HB41/S06.052
Since the second half of the 20th century, the theatre has started to use completely different forms of its means of expression. Mostly in German drama, critics have started to use a term that refers to this new practice as the “Regietheater” /director’s theatre/. In these new directing tendencies of drama interpretation, intentions of all or most of the original authors were changed or became re-interpreted. This means a displacement of various structures of the story; starting with geographical location and historic period and ending with the relationship patterns.
One of the ways to make the product more attractive and appealing, maybe deeper for us, is forming new questions and platforms for dialogue and understanding between different cultures by transforming theatre reality into the local portrait – a visual frame that brings drama to new dimensions.
The aim of this paper is to analyse the tendency of the modern theatre in the matters of social and cultural diplomacy. This regards both classical theatre and site-specific theatre projects. Their scenic principles will be analysed as documents and communication channels and as evidence of human creativity, intolerance and should serve as a big case study through the hyper-realistic social stage imitation. In this paper, two analyses are offered. Along with an analysis of one of the most famous scenographers Anna Viebrock (works:Katja Kabanova, Murx ihn, Murx ihn, Murx ihn ab!), the paper examines a small local site-specific drama project of Peter Mazalan, Zuzana Zabkov and Martin Zaicek from Bratislava (Model Mitana). Cultural diplomacy, in this case, means dialogue between totalitarian architecture from different, yet same countries (GDR, Czechoslovakia). In the case of Viebrock, it is the mobile architecture of imitation. In the site-specific project, architecture functions as a stable monument. Both of them are inspired by the 1970s and both exhibit the same set of relationships:
global vs. local, well-supported vs. lowcost, and East vs. West.
Keywords: architecture, stage design, theatre, opera, site specific
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