New Russian Drama began its rise at the end of the twentieth century, following a decline in dramatic writing in Russia that stemmed back to the 1980s. Authors Beumers and Lipovetsky examine the representation of violence in these new dramatic works...
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New Russian Drama began its rise at the end of the twentieth century, following a decline in dramatic writing in Russia that stemmed back to the 1980s. Authors Beumers and Lipovetsky examine the representation of violence in these new dramatic works penned by young Russian playwrights. Performing Violence is the first English-language study of the consequent boom in drama and why this new breed of authors were writing fierce plays, whilst previous generations had preferred poetry and prose. Since 1999 numerous festivals of new Russian drama have taken place, which have brought international recognition to such playwrights as the Presnyakov brothers, Evgeni Grishkovets and Vasili Sigarev. At the same time, young stage directors and new theatres also emerged. New Russian Drama is therefore one of a few artistic and cultural phenomena shaped entirely in the post-Soviet period and this book investigates the violent portrayal of identity crisis of the generation as represented by theatre. Reflecting the disappointment in Yeltsin's democratic reforms and Putin's neo-conservative politics, the focus is on political and social representations of violence, its performances and justifications. Performing Violence seeks a vantage point for the analysis of brutality in post-Soviet culture. It is a key text for students of theatre, drama, Russian studies, culture and literature Front Cover -- Preliminary Pages -- Contents -- Acknowledgments -- Note on Transliteration -- Foreword -- Preface -- Introduction: Contours and Contexts of New Drama -- Part I: The Context -- Chapter 1: Violence in Soviet and Post-Soviet Culture -- Chapter 2: The Precursors of New Drama -- Chapter 3: Theatre in the Ruins of Language -- Part II: Text and Performance -- Chapter 4: Communicating through Violence: Kurochkin, Koliada, Sigarev, Klavdiev -- Chapter 5: Evgenii Grishkovets and Trauma -- Chapter 6: Documentary Theatre -- Chapter 7: Ivan Vyrypaev and the Abject -- Chapter 8: The Presniakovs and Performing Violence -- Conclusion -- Bibliography -- Back Cover
