КФУ. Карточка публикации. B. BRECHT ON THE STAGE OF TATAR THEATRE

КАЗАНСКИЙ
ФЕДЕРАЛЬНЫЙ УНИВЕРСИТЕТ

RUS

- EN
- 中文
- ES

B. BRECHT ON THE STAGE OF TATAR THEATRE

Форма представления

Статьи в зарубежных журналах и сборниках

Год публикации

2016

Язык

английский

Авторы, сотрудники КФУ

Хабутдинова Милеуша Мухаметзяновна, автор

Библиографическое описание на языке оригинала

Nurieva Liliya, Khabutdinova Milyausha, Zakirzyanov Alfat, B. BRECHT ON THE STAGE OF TATAR THEATRE//TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION. - 2016. - Vol.6, Is.. - P.3465-3470.

Аннотация

The article deals with the approaches of Tatar theater to learning the heritage of the German playwright B. Brecht. For a long time it has been thought that the aesthetics of German playwright is alien to Tatar stage. Kazan theaters were interested in Brecht only in the late 1970s. 1973 was the date of reference of creative experiments with Brecht's heritage on Russian stage of Kazan. Tatar theater came to studying German dramatist only three decades later. We are talking about the plays “Mother Courage” (directed by Rachid Zagidullin) (2000), “A Respectable Wedding” (directed by Iskander Sakayev) (2013), “The Good Person of Szechwan” (directed by Iskander Sakayev) (2015). The work reveals the dynamics of this process and the key trends on the basis of comparison of three performances from the repertoire of the Tatar performances. If in 2000 Tatar theater in Kazan considered Brecht's plays through the prism of epic tradition inherent in Tatar folklore, then a decade later in Almetyevsk

Ключевые слова

German drama, Tatar theater, R. Zagidullin, I. Sakaev, ?Mother Courage?, ?A Respectable Wedding?, ?The Good Person of Szechwan?, reception

Название журнала

TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION

Пожалуйста, используйте этот идентификатор, чтобы цитировать или ссылаться на эту карточку

https://repository.kpfu.ru/?p_id=155395

Полная запись метаданных

Поле DC	Значение	Язык
dc.contributor.author	Хабутдинова Милеуша Мухаметзяновна	ru_RU
dc.date.accessioned	2016-01-01T00:00:00Z	ru_RU
dc.date.available	2016-01-01T00:00:00Z	ru_RU
dc.date.issued	2016	ru_RU
dc.identifier.citation	Nurieva Liliya, Khabutdinova Milyausha, Zakirzyanov Alfat, B. BRECHT ON THE STAGE OF TATAR THEATRE//TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION. - 2016. - Vol.6, Is.. - P.3465-3470.	ru_RU
dc.identifier.uri	https://repository.kpfu.ru/?p_id=155395	ru_RU
dc.description.abstract	TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION	ru_RU
dc.description.abstract	The article deals with the approaches of Tatar theater to learning the heritage of the German playwright B. Brecht. For a long time it has been thought that the aesthetics of German playwright is alien to Tatar stage. Kazan theaters were interested in Brecht only in the late 1970s. 1973 was the date of reference of creative experiments with Brecht's heritage on Russian stage of Kazan. Tatar theater came to studying German dramatist only three decades later. We are talking about the plays “Mother Courage” (directed by Rachid Zagidullin) (2000), “A Respectable Wedding” (directed by Iskander Sakayev) (2013), “The Good Person of Szechwan” (directed by Iskander Sakayev) (2015). The work reveals the dynamics of this process and the key trends on the basis of comparison of three performances from the repertoire of the Tatar performances. If in 2000 Tatar theater in Kazan considered Brecht's plays through the prism of epic tradition inherent in Tatar folklore, then a decade later in Almetyevsk	ru_RU
dc.language.iso	ru	ru_RU
dc.subject	German drama	ru_RU
dc.subject	Tatar theater	ru_RU
dc.subject	R. Zagidullin	ru_RU
dc.subject	I. Sakaev	ru_RU
dc.subject	?Mother Courage?	ru_RU
dc.subject	?A Respectable Wedding?	ru_RU
dc.subject	?The Good Person of Szechwan?	ru_RU
dc.subject	reception	ru_RU
dc.title	B. BRECHT ON THE STAGE OF TATAR THEATRE	ru_RU
dc.type	Статьи в зарубежных журналах и сборниках	ru_RU