Poliitiline teater ja selle strateegiad Eesti ja lääne kultuuris
Kuupäev
2016-09-28
Autorid
Ajakirja pealkiri
Ajakirja ISSN
Köite pealkiri
Kirjastaja
Abstrakt
Doktoritöös “Poliitiline teater ja selle strateegiad Eesti ja lääne kultuuris” keskendutakse nüüdisaegsele poliitilisele teatrile ja selle loomise strateegiatele. Neist uuritakse kolme: rühmaloome, dokumentaalteatri ning rakendusteatri strateegiat. Vaadeldakse nende tähendust, kujunemist, funktsioone ja eesmärke poliitilise teatri loomisel. Analüüsitakse nii eesti kui lääne teatri lavastusi Saksamaalt, Šveitsist, Venemaalt, Inglismaalt, Prantsusmaalt, Norrast, Lätist ja Austraaliast 21. sajandi alguskümnenditel. Eesti nüüdisteater paigatatakse lääne teatri konteksti. Tegemist on võrdleva uurimusega, kus kõrvutatakse eesti ja lääne lavastusi ning tuuakse esile nende sarnasused ja erinevused. Töös arendatakse eestikeelset terminoloogiat: uuematele poliitilise teatri suundumustele pakutakse eestikeelseid vasteid. Doktoritöös uuritakse poliitilise teatri mõistet uuematest poliitika ja kunsti suhteid käsitlevatest teooriatest lähtudes. Tuuakse välja poliitilise teatri eri definitsioonid ning pakutakse võimalusi poliitilise teatri defineerimiseks, mis lähtub neljast kriteeriumist: temaatilisest, funktsionaalsest, ideoloogilisest ja esteetilisest. Küsimusest, mis on poliitiline teater, on olulisem küsimus, kuidas tehakse teatrit poliitiliselt. Ilmnes, et ei rühmaloome strateegia, dokumentaalteatri ega rakendusteatri praktikad pole Eestis eriti laialt levinud. Nende strateegiate kasutamine on lääne kultuuris enim levinud mitte-institutsionaalsetes teatrites ja vabatruppide töödes. Eestis võib strateegiate näiteid leida ka institutsionaalsetes teatrites (eriti dokumentaalsete elementide kasutamist), kuid rühmaloome strateegia ja eriti rakendusteater toimivad suurte institutsioonide välistes kooslustes. Tendentsina on aga selgelt näha nii rühmaloome kui dokumentaalteatri strateegia järjest levinum rakendamine Eesti teatrites. Üha rohkem lavastusi luuakse ilma eelnevalt valmis kirjutatud näidendita. Lavastuse loomiseks tuleb kokku mõttekaaslaste rühm, millel on edastada selge sõnum ühiskonda puudutavatel teemadel. Seega, uurimuses esitatud poliitilise teatri loomise strateegiad, mis on lääne teatrikultuuris üpris tavalised, levivad järjest enam ka Eestisse.
The dissertation “Political Theatre and its Strategies in the Estonian and Western Cultures” focuses on the contemporary political theatre and its strategies. Three of the strategies – devising, documentary and applied theatre – are analysed. The terms are defined, an overview of the development of the strategies are given and the characteristics of each strategy is presented. Apart from Estonia, performances from Germany, Switzerland, Russia, England, France, Norway, Latvia and Australia created in the 21st century are analysed. The research is a comparative one as the Estonian political performances are compared to those of Western culture. The dissertation promotes the usage of new terminology in the Estonian language. In the dissertation the concept of political theatre is analysed from various perspectives commencing with the newest theories about the relationship between politics and art. Various criteria for defining political theatre is introduced. Four aspects of an art phenomena are taken into consideration: thematic, functional, ideological and aesthetical. In defining political theatre four types of questions can be asked. Should a performance be named political when it deals with harsh questions relevant for society? Or does political theatre aim to change the world? Can a performance with clear ideology be named political? Does political theatre have its own (for example postdramatic) aesthetics? To define a performance political one should answer positively to at least two questions out of four. It showed that neither devising, documentary nor applied theatre are as yet very widespread in Estonia. In the Western culture these strategies are mainly used in non-institutional theatres. In Estonia the strategies are implemented also in the institutional theatre (especially the documentary practices). Still, the devised theatre and especially the applied theatre are practiced outside the large institutions. As a tendency one can see that the devising and documentary theatre are becoming more and more widespread in the Estonian theatre scene. There are more and more like-minded groups that are willing to discuss relevant societal issues on the stage without a previously written play. So the strategies described in this dissertation are reaching Estonia more and more.
The dissertation “Political Theatre and its Strategies in the Estonian and Western Cultures” focuses on the contemporary political theatre and its strategies. Three of the strategies – devising, documentary and applied theatre – are analysed. The terms are defined, an overview of the development of the strategies are given and the characteristics of each strategy is presented. Apart from Estonia, performances from Germany, Switzerland, Russia, England, France, Norway, Latvia and Australia created in the 21st century are analysed. The research is a comparative one as the Estonian political performances are compared to those of Western culture. The dissertation promotes the usage of new terminology in the Estonian language. In the dissertation the concept of political theatre is analysed from various perspectives commencing with the newest theories about the relationship between politics and art. Various criteria for defining political theatre is introduced. Four aspects of an art phenomena are taken into consideration: thematic, functional, ideological and aesthetical. In defining political theatre four types of questions can be asked. Should a performance be named political when it deals with harsh questions relevant for society? Or does political theatre aim to change the world? Can a performance with clear ideology be named political? Does political theatre have its own (for example postdramatic) aesthetics? To define a performance political one should answer positively to at least two questions out of four. It showed that neither devising, documentary nor applied theatre are as yet very widespread in Estonia. In the Western culture these strategies are mainly used in non-institutional theatres. In Estonia the strategies are implemented also in the institutional theatre (especially the documentary practices). Still, the devised theatre and especially the applied theatre are practiced outside the large institutions. As a tendency one can see that the devising and documentary theatre are becoming more and more widespread in the Estonian theatre scene. There are more and more like-minded groups that are willing to discuss relevant societal issues on the stage without a previously written play. So the strategies described in this dissertation are reaching Estonia more and more.
Kirjeldus
Märksõnad
teater, poliitiline teater, dokumentaalteater, rakendusteater, teatriajalugu, teatrikriitika, Läänemaad, Eesti, theatre, political theatre, documentary theatre, applied theater, history of theatre, theatre criticism, Western cultures, Estonia