Dennis Barnett is assistant professor of theatre at Coe College in Cedar Rapids, Iowa. He was a professional actor and director for nearly twenty years, and co-founded and directed Upstart Stage in Berkeley, California. Arthur Skelton is an associate researcher and the former senior lecturer in Drama at the Moray House Faculty of Education in the University of Edinburgh.
Theatre and Performance in Eastern Europe: The Changing Sceneby Dennis Barnett
This is a collection of articles about contemporary theatre and performance history in Eastern Europe. It considers the ways the socio-political change has affected theatre and performance in countries such as Russia, the former Czechoslovakia, Poland, Hungary, Romania, Bulgaria, and the former Yugoslavia, particularly after the break-up of the Soviet Union.See more details below
This is a collection of articles about contemporary theatre and performance history in Eastern Europe. It considers the ways the socio-political change has affected theatre and performance in countries such as Russia, the former Czechoslovakia, Poland, Hungary, Romania, Bulgaria, and the former Yugoslavia, particularly after the break-up of the Soviet Union.
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Table of Contents
Part 1 Acknowledgments Part 2 Introduction Part 3 Part 1: Russia Chapter 4 1. Power as Nostalgia: The Bolshoi Ballet in the New Russia Chapter 5 2. A Little Orchestra of Hope: Sergei Artsybashev Chapter 6 3. Boris Eifman's Theatre Enigma Chapter 7 4. Oleg Tabakov at the Moscow Art Theatre: An Interview with Alexander Popov Part 8 Part 2: Poland Chapter 9 5. Looking for Politics in All the Wrong Places: Teatr Wybrzee's Educational Theatre Wybrazeak Part 10 Part 3: Bulgaria Chapter 11 6. Yordan Radichkov's Trying to Fly Against Aesthetic and Political Canons Chapter 12 7. Post-Totalitarian Bulgarian Theatre and Drama: Experimenters and Literary Cinderallas Part 13 Part 4: Romania Chapter 14 8. The (R)evolution of Romanian Theatre Part 15 Part 5: Former Czechoslovakia Chapter 16 9. The Devil and Brezhnev's Eyebrows: Czech "Anti-fascist" Theater after the Warsaw Pact Invasion Chapter 17 10. Exiling Time: Czech Theatre's Post-Communist Struggle to Reconcile Legacies with Change Chapter 18 11. Nostalgia and Technology Part 19 Part 6: Hungary Chapter 20 12. Truth, Reality, and Illusion: Arpád Göncz and Hungarian Medea Chapter 21 13. Theatre in Hungary from Past to Pécs, 1984—2001 Part 22 Part 7: Former Yugoslavia Chapter 23 14. Tales from the Wild East Chapter 24 15. Old New Times: A Search for a Cultural Identity in the Countries of the Former Yugoslavia Chapter 25 16. Body in Context: Slovene Theatre at the End of the Transition Chapter 26 17. Croatian Theatre and the War 1992—1994 Chapter 27 18. Making a "MESS" Out of Misery: The Sarajevo International Theatre Festival Ten Years After Chapter 28 19. From the Myth of Artistic Independence to the Myth of Artistic Engagement Chapter 29 20. Between Engagement and Escapism Chapter 30 21. Laughing Through the Changes: The Palliative Theatre of Dušan Kovacevic Chapter 31 22. The Role of the Artist in the Dark Times Part 32 Appendix A: Selected Works of Boris Eifman Part 33 Appendix B: Playwrights of the Post-Communist Czech Republic Part 34 Appendix C: Sarajevo International Theatre Festival Part 35 Appendix D: The Plays of Dušan Kovacevic Part 36 Appendix E: DAH Theatre Performances Part 37 Bibliography Part 38 About the Editors and Contributors Part 39 Index
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