Русский театральный журнал в культурном контексте 1840 -х годов

Abstract

Käesolev väitekiri on pühendatud Venemaa esimesele kommertslikule spetsialiseeritud teatriajakirjale „Repertuaar ja Panteon“ (1839–1856), mille näitel vaadeldakse teatriajakirjanduse funktsioneerimise eripärasid vene 1840ndate aastate kultuurikontekstis. Vaatluse all olev ajakiri tekkis keerulise eksperimendi käigus, kus ühendati omavahel lääne-euroopa teatriajakirjanduse erinevad tüübid – ajaleht ja ajakiri. Teater oli tolle aja Venemaal ainuke sotsiaalne platvorm, kus kohtusid erinevate ühiskonnakihtide esindajad. Seetõttu oli ka valitsuse kontroll selles sfääris eriti tuntav. Töös analüüsitakse tsensuuri- ja administratiivseid probleeme, millega kirjastajatel tuli kokku puutuda.

„Repertuaari ja Panteoni“ väljaandjad, toimetajad ja autorid kuulusid kultuuritegelaste uude demokraatlikku põlvkonda. Rõhutatakse tõika, et nad õppisid tundma lugejate ootusi, püüdes hõlmata uut ja perspektiivset teatrihuviliste auditooriumi. Ajakiri jälgis ja kajastas tähelepanelikult vene teatrielu olulisemaid sündmusi, selles trükiti ära üle 300 näidendi. Võeti ette mitmeid katseid reformida vene teatrikriitikat, mida 1840ndatel aastatel iseloomustas ettevaatlikkus ja pinnapealsus. Ajakirja põhiautorite hulgas oli tolle aja üks silmapaistvamaid dramaturge Nikolai Polevoi, kelle näidenditest enamik nägi trükivalgust just siin. Selgus, et Polevoi järgis oma tegevuses prantsuse kriitiku Arnould Fremy teoreetilisi suuniseid, kes tegi vahet “kõrg-” ja “repertuaari” dramaturgia vahel, kus viimane oli orienteeritud massivaatajale.

Tegemist on interdistsiplinaarse uurimusega, kus on ühendatud kirjandusajalooline, ajakirjandusajalooline ja teatriteaduslik lähenemine. Mitmes peatükis rakendatakse New economic criticism’i instrumentaariumi (ajakirjade „Repertuaar“ ja „Panteon“ ühinemine 1842. aastal ning Faddei Bulgarini roll selles; Apollon Grigorjevi koostöö ajakirjaga), aga ka argikäitumise semiootika meetodeid. Analüüsitakse Ivan Pesotski ja Fjodor Koni kohta käivaid vodevill-paroodiaid ja rekonstrueeritakse nende tegelaste reputatsioon.

„Repertuaar ja Panteon“ ei ole väitekirjas mitte ainult vaatlusobjekt, vaid ka „vaatepunkt“ – selline kirjanduslik ja ajakirjanduslik ettevõtmine, läbi mille kumavad ja ilmnevad paljud kunstilised ja argised konstruktsioonid, mis on relevantsed nii vene teatriajakirja kui 1840ndate vene kultuuri ajaloo jaoks. Uurimuse vaatepunktist ei ole sugugi juhuslik, et kui 1852. aastal sai „Repertuaarist ja Panteonist“ kirjandusajakiri, siis koos teatrispetsiifika kadumisega jäi ajakiri ilma ka oma lugejatest ja lõpetas ilmumise.The present thesis is concerned with the first Russian specialized theatre magazine Repertuar i Panteon (Repertoire and Pantheon, 1839–1856) through the example of which several points of the 1840s Russian theatre press are studied. The magazine appeared as a result of a publishing experiment in integration of different types of West European contemporary periodical publications devoted to theatre issues, and it was an unprecedented blending of specific features of newspapers and magazines. In Russia theatre was the only existing social platform where different social groups got together, and this is why government control over the theatre life was particularly severe. The thesis studies those censorial and administrative hardships that the editors of the magazine had to overcome. Repertuar i Panteon publishers, editors and contributors belonged to the new generation of democratically spirited cultural figures. In this study special emphasis is placed upon the fact that they examined readers' demand and response as well as dealt with the new and the future potential audiences. It was found that the editorial-review board followed events of the theatre life in Russia, published no less than 300 pieces of current repertoire and made several attempts to reform the Russian theatre criticism of the 1840s which was mainly characterised by its excessive wariness and superficiality. Repertuar i Panteon published the better part of the plays written by Nikolay Polevoy, one of the central figures in dramatic art of the time. It has emerged that in his playwriting Polevoy followed the theoretical principles proposed by a French critic Arnould Frémy who substantiated the differences between the 'high' drama and the 'repertoire' drama intended for the mass audience. The thesis has interdisciplinary nature since within it various lines of approach are applied including historical-literary and historical-journalistic approaches the same as theatre studies-oriented approach. Moreover, in a number of chapters certain analytical tools of "The New Economic Criticism" were used as well (e.g. the history of the Repertuar and Panteon magazines merger in 1842; the role Faddey Bulgarin played in that process; the history of Apollon Grigoryev's cooperation with the magazine). Furthermore, in this thesis some approaches of the semiotics of everyday behavior were applied too. A number of vaudevillian mock pieces about the life of Ivan Pesotsky and Fyodor Koni as well as the reputation they had during their lifetime have been studied thoroughly. Repertuar i Panteon is not only the object of this thesis but also the specific 'expresser' of a certain point of view insomuch as it was both a magazine and a literary venture where through an innumerable number of administrative, artistic, everyday social behavior and realia phenomena typical of the 1840s Russian cultural context freely manifested themselves. From the present study perspective it is no coincidence that when in 1852 Repertuar i Panteon became a literary magazine it lost its specific theatre-oriented nature and its readership dropped off as well which eventually led to cessation of the magazine's existence.