DOI: 10.36871 / hon.202104006
Authors
I. A. Krilov
Kemerovo State Institute of Culture, Kemerovo, Russian Federation
Abstract
The author of the article attempts to identify and distinguish traditional and alternative formats
of theatre art established by the early 20s in the space of home theatre. The author considers
the determinants of the emergence and spread of art practices in the domestic theatre
art and refers them to the alternative formats of theatre art.
The culture of complicity (participation), producer strategies of postdramatism and digitalization
of daily occurrence are presented as fundamental grounds for the emergence of
such a non-classical creative model as a site-specific art practice in the landscape of Russian
theatre art of the XXIst century.
The unstable dynamics of the attractiveness of the non-classical creative model in the Russian
theatre space is caused by a number of reasons explicitly presented in the article. The
accumulated home theatre experience is developing and being realized by the early 20s in
traditional and alternative formats of theatre art, which simultaneously influence each other.
The actualization of site-specific art practice is evaluated by the author as a positive phenomenon
that allows to update and to expand the arsenal of producer strategies, to discover an innovative approach to creating an aesthetic event, to transform the audience participation
within the framework of home theatre art and the culture of participation.
Keywords
postdramatism, producer strategies, culture of complicity (participation), digital technologies, daily occurrence, non-classical creative model of theatre art, cultural diffusion