А. А. Шаховской — идеолог русского национального театра
Date
2020-10-02
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
Vürst Aleksandr Aleksandrovitš Šahhovskoi (1777-1846) oli 19. sajandi esimese veerandi vene teatri üks olulisemaid tegelasi. Peaaegu 30 aasta jooksul oli ta repertuaaripoliitika juht, lavastaja ja näitejuht ning paljude näitlejate juhendaja. Uurimistöö ülesandeks oli vaadelda Šahhovskoi loomingut tema vene rahvusteatri kujunemise kontseptsiooni aspektist.
Väitekirjas ristuvad mitu uurimissuunda: uuritakse imperaatorlikku ja rahvuslikku ideoloogiat, rahvuslikke müüte, rahvuslikku ülesehitustööd Venemaal 19. sajandi esimesel veerandil; uuritakse vene „arhaismi“, 18. sajandi lõpu – 19. sajandi esimese veerandi vene teatrilugu ning teatrikriitikat; uuritakse A. Šahhovskoi loomingut ajastu ühiskondlik-kirjandusliku elu taustal. Väitekirjas kasutatakse ajaloolis-kirjanduslikku ja komparatiivset meetodit, ideoloogilise diskursuse ja teksti retoorilist analüüsi.
Väitekirjas on üksikasjalikult rekonstrueeritud ja analüüsitud Šahhovskoi programmi. Selle peamised põhimõtted on: 1) luua vene repertuaar näidenditega, mille süžeed pärinevad vene elust ja ajaloost ning karakterite kujutamine on otseselt seotud vene rahva kultuuriliste ja moraalsete eripäradega. Selleks kasutati laialdaselt suulise ja muusikalise (pseudo)folkloori elemente, töötati välja kõnekeel kui rahvusliku iseloomu kehastus; 2) erinevate teatrižanride, aga ka romantismiajastu kirjandusteoste (Puškini poeemid, Žukovski ballaadid, W. Scotti romaanid jpt.) dramaturgiliste töötluste kaasamine aktuaalsesse kirjandusprotsessi; 3) koostöö noorte autoritega, mis pidi rikastama repertuaari uute „õigesuunaliste“ näidenditega; 4) lääne omast erineva vene „rahvusliku“ näitlejameisterlikkuse koolkonna loomine; 5) euroopaliku teatri jäljendamise probleemi lahendamine võrdlusmudelite otsimise ja nende rahvusliku sisuga täitmise abil ning „parima lapsendamisega isamaale“, kusjuures see toimus orienteerudes lääneeuroopa teatrimõtte saavutustele, eriti just A.W. Schlegeli ideedele; 6) Vanakreeka teatri vene teatrile eeskujuks kuulutamine; 7) katse luua „ideaalset“ vene teatri ajalugu, mis ei jääks alla lääneeuroopa omale.
Nagu käesolev uurimustöö näitab, toimus Šahhovskoi nagu ka kogu vene „arhaismi“ kui kirjandusliku suuna tegevus kooskõlas Euroopa eelromantismi ja romantismi rahvusliku kultuuri ülesehitamise ideega. Nagu käesolev uurimustöö näitab, toimus Šahhovskoi nagu ka kogu vene „arhaismi“ kui kirjandusliku suuna tegevus kooskõlas Euroopa eelromantismi ja romantismi rahvusliku kultuuri ülesehitamise ideega. Šahhovskoi programm ei olnud originaalne ning süsteemina oli ta liiga sirgjooneline ja didaktiline. Tema dramaturgia vananes kiiresti, talle järgnesid ajas tugevad ning omanäolised autorid. Nad võtsid üle Šahhovskoi põhiidee – rahvusteatri loomine, kuid täitsid selle teistsuguse sisuga. Šahhovskoi loomingu kõige tugevam külg oli elava kõnekeele loomine näitetekstis ja seda arendasid hiljem edasi Gribojedov, Gogol, A. Ostrovski jt
Prince Alexander Shakhovskoy (1777–1846) was one of the main figures of Russian theatre of the first third of the 19th century. He served in the directorate of the Imperial Theatres for almost 30 years, he was one of the heads of the repertoire policy, director and mentor of many actors. The objective of the current study was to examine the work of Shakhovskoy from the point of view of the formation of his concept of Russian national theatre. The dissertation stands at the intersection of several research areas: the study of imperial ideology, national myths, nation-building in Russia in the first third of the 19th century; research of Russian "archaism", the history of Russian theatre of the end of the 18th – first third of the 19th century and theatrical criticism; the study of A. Shakhovskoy’s work on the background of the social and literary life of the era. This thesis provides a detailed reconstruction and analysis of Shakhovskoy's program. It consisted in the following: 1) the creation of a Russian repertoire with plays, the plots of which are taken from Russian life and history, and the depiction of characters is directly related to the cultural and moral characteristics of the Russian people. For this, elements of verbal and musical (pseudo) folklore were widely used, the spoken language was developed as the embodiment of the folk character; 2) inclusion in the current literary process of various theatrical genres, as well as dramatic remakes from the literary works of the romantic era (Pushkin's poems, Zhukovsky's ballads, V. Scott's novels, and many others); 3) collaboration with young authors, which was supposed to enrich the repertoire with new plays of the “right direction”; 4) the creation of a Russian national school of acting, different from the West; 5) solving the problem of imitating the European theatre by searching for exemplary models and filling them with national content — “adopting the best for own country”, and this happened through an orientation towards the achievements of Western European theatrical thought, in particular, on the ideas of A. Schlegel; 6) the proclamation of the ancient Greek theatre as a model for the Russian; 7) an attempt to create an “ideal” history of the Russian theatre, which is not inferior to the Western European one. The activity of Shakhovskoy, as well as the entire Russian “archaism”, followed the ideas of European pre-romanticism and romanticism with its cultural nation-building.
Prince Alexander Shakhovskoy (1777–1846) was one of the main figures of Russian theatre of the first third of the 19th century. He served in the directorate of the Imperial Theatres for almost 30 years, he was one of the heads of the repertoire policy, director and mentor of many actors. The objective of the current study was to examine the work of Shakhovskoy from the point of view of the formation of his concept of Russian national theatre. The dissertation stands at the intersection of several research areas: the study of imperial ideology, national myths, nation-building in Russia in the first third of the 19th century; research of Russian "archaism", the history of Russian theatre of the end of the 18th – first third of the 19th century and theatrical criticism; the study of A. Shakhovskoy’s work on the background of the social and literary life of the era. This thesis provides a detailed reconstruction and analysis of Shakhovskoy's program. It consisted in the following: 1) the creation of a Russian repertoire with plays, the plots of which are taken from Russian life and history, and the depiction of characters is directly related to the cultural and moral characteristics of the Russian people. For this, elements of verbal and musical (pseudo) folklore were widely used, the spoken language was developed as the embodiment of the folk character; 2) inclusion in the current literary process of various theatrical genres, as well as dramatic remakes from the literary works of the romantic era (Pushkin's poems, Zhukovsky's ballads, V. Scott's novels, and many others); 3) collaboration with young authors, which was supposed to enrich the repertoire with new plays of the “right direction”; 4) the creation of a Russian national school of acting, different from the West; 5) solving the problem of imitating the European theatre by searching for exemplary models and filling them with national content — “adopting the best for own country”, and this happened through an orientation towards the achievements of Western European theatrical thought, in particular, on the ideas of A. Schlegel; 6) the proclamation of the ancient Greek theatre as a model for the Russian; 7) an attempt to create an “ideal” history of the Russian theatre, which is not inferior to the Western European one. The activity of Shakhovskoy, as well as the entire Russian “archaism”, followed the ideas of European pre-romanticism and romanticism with its cultural nation-building.
Description
Keywords
Russian, theatre, poets, dramatists