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Foreign Classics on the Tatar Stage
- Authors: Shevchenko E.N.1
-
Affiliations:
- G. Ibragimov Institute of Language, Literature and Art, Tatarstan Academy of Sciences
- Issue: Vol 21, No 3 (2024): BREAKING THE CIRCLE: LANGUAGE, LITERATURE, AND ART OF THE TATARS IN INTERCULTURAL DIALOGUES
- Pages: 547-557
- Section: CULTURE AND ART
- URL: https://journals.rudn.ru/polylinguality/article/view/41062
- DOI: https://doi.org/10.22363/2618-897X-2024-21-3-547-557
- EDN: https://elibrary.ru/PDHVSL
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Abstract
The process of formation of the Tatar theater was associated with both the formation of national drama and the development of Russian and foreign classics. The Tatar Theater turned to world drama from the first years of its existence. It was an important school of directing and acting, contributed to the expansion of cultural horizons, the formation of professional skills and artistic taste of the young Tatar theater figures. Depending on the nature of the era, the director's preferences and the characteristics of the troupe, the plays of foreign playwrights emphasized social sound, heroic or romantic beginnings, psychologism or the universal nature of human relations. And although the main emphasis in the Tatar theater has always been on national drama, plays by foreign classics have always been included in its repertoire. The article examines the peculiarities of the Tatar theater's reception of the legacy of Shakespeare Moliere and Schiller at different stages of its development.
About the authors
Elena N. Shevchenko
G. Ibragimov Institute of Language, Literature and Art, Tatarstan Academy of Sciences
Author for correspondence.
Email: elenachev@inbox.ru
ORCID iD: 0009-0007-4719-0314
SPIN-code: 5137-2223
Candidate of Philological Sciences, Associate Professor, Senior Researcher
12/4 Karl Marx St, Kazan, 420111, Russian FederationReferences
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