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The Structure of Plasticity

Resistance and Accommodation in Russian New Drama

Bibliographic Data

ID14997609
AuthorsSusanna Weygandt (Susanna Weygandt received her PhD from Princeton University and studied directing at the Russian Academy of Theater Arts (G.I.T.I.S.). Her first monograph, After Stanislavsky: Post-Somatic Drama in Russia, examines how post-Soviet theatre reacts to the Russian theatrical past, departing from it but not erasing it in its resystemization in the contemporary landscape. She received a Fulbright to produce the first documentation of Anatoly Vasiliev’s speech technique. She directed a production of her..., corresponding author)
Year2016
Volume60
Issue1
Pages116-131
Publication date2016-03-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueTDR/The Drama Review (JOURNAL)
Journal identifiersISSN: 1054-2043 • E-ISSN: 1531-4715
PublisherMIT Press - Journals (PUBLISHER)
DOI10.1162/dram_a_00527
OpenAlexW2282517812
LanguageEN
Citations received2
References cited7

The history of the Russian stage traces the importance of objects in storytelling back to an earlier art: plastika, a stylized acting technique that “speaks” spatially with objects. In Russian New Drama, objects enter the stage as supplements to the hero, who survives the disintegration of the Soviet Union as a shell-of-the-self. As extensions of the hero, the hitherto lifeless things begin “to act” and tell their own story

Accommodation · Aesthetics · Art · Drama · Economics · HERO · Literature · Narrative · Political science · Soviet union · Storytelling · Stylized fact · Visual arts · Diversity and Impact of Dance · Folklore, Mythology, and Literature Studies · History · Law · Psychology · Theatre and Performance Studies

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Unique citing works2
Citations per year0.18
Citation span2015 - 2023 (9)
Citation velocityhistorical
Highly citedNo
Citation typesNeutral: 1

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