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INTERLOCUTOR Aleksandr SOKUROV: «Interactive cinema means creating a lazy viewer». (Interviewed by Aleksandr Valjamae) The discussion of Aleksandr Sokurov’s «Elegy of a Voyage» touches upon not only the details of the film’s conception but upon the «auteur cinema» in general. The film, according to the interviewer, could serve as a basis for interactive cinema where story, atmosphere and the actions of characters could change according to the viewers’ cognitive and emotional reactions, conscious as well as unconscious. Whether Sokurov finds such new technologies interesting, whether he thinks that they will be able to influence the functions of a film director—the interview of our Spanish colleague contains the answers to these and some other questions. Keyword: interactivity, cognitive perception, Aleksandr Sokurov, documentary film, auteur cinema CINEMA AND THEATER (I) Kristina MATVIENKO. Cinefication of theater: sketches of the past and the present The article traces the development of a one time innovative artistic device—the screen on stage, and the construction of stage action with the help of the montage principle. After the highly productive 1920s, the epoch of the birth and the heyday of cinefication, the technique was brought up again only in the 1950s. However, traces of it remained in the work of some directors, showing in the montage structure of their productions and in their stage design. Methods that were organic for cinema became a «defamiliarizing» device that was easily picked up on by viewers trained in the visual culture of cinema. Thus cinefication became a new convention that demanded a new lexicon and new narrative structures. A new surge of cinefication occurred in the European theater in the late 1990s when cinema, video and slide projection became a customary element of theater performance. Keywords: Anatoliy Efros, Frank Castorf, Krzysztof Warlikowski, Joël Pommerat, Robert Lepage, Alvis Hermanis, New Drama, screen on stage, film 371 in theater, mythology of film in theater, cinefication of theater, history of Russian theater, 1970s, 2000s. Vadim GAEVSKIY. Chaplin-biomechanics-Meyerhold. The author posits that an invisible connection existed between Chaplin and Meyerhold, though it was one-sided. It is unlikely that the relatively young Hollywood actor knew about the existence of the relatively young Saint Petersburg theater director. On the other hand, Meyerhold appreciated Chaplin from the very beginning. There was a lot of common between them: an eccentric way of thinking, an aspiration for the higher level of virtuosity, a unique lyricism bordering on cruelty, a unique artistic morality encompassing even amorality, and, most importantly, the purely theatrical principle of a mask. The social mask of Meyerhold and the existential mask of Chaplin appeared as a means of escaping the moment of crisis both in theater that was beginning to lose its specificity, and in cinema that had as yet to find it. Keywords: theater history of the 1920s, 1930s, Russian avant-garde, Vsevolod Meyerhold, comic film, biomechanics, reflex, melodrama, Charlie Chaplin, Chaplinian motives, «A Woman of Paris», «The Lady of the Camellias» AD GLORIAM Yuri Tsivian—60 «From the gesture in life… to the gesture in art». (Discussions about theater and cinematograph): M.A. Artistic theater production and cinematograph.—Al. Voznesenskiy. Not a pantomime.—Geynim. Cinematograph and theater.—Geynim. The new art.— N.Negorev <A.Kugel>. Cinematography and theater. (Publication and commentary by Nina Dymshitz, Svetlana Ishevskaya, with the participation of Viktoriya Levitova and Artyom Sopin.) The editorial staff of «Kinovedcheskie zapiski» sincerely congratulates our long standing author and a friend of the journal Yuri Tsivian on the occasion of his birthday. As a present for his anniversary we have chosen several fragments from the forthcoming «Anthology of Russian Film Criticism». These articles scattered around film periodicals of the early 20th century in one way or another deal with the problem of gesture. Keywords: early cinema, early Russian cinema, Silver Age culture, Alexandr Kugel, Moisey Aleynikov, Aleksandr Voznesenskiy, gesture FILM MUSEUM Valeriy TURITSYN. Antonioni: documentary films of the 1940s. The film historian Valeriy Turitsyn surveys short films of the Italian director that belong to the early period (1943–1950) of his work. While the first one of these films stands at the very beginnings of Italian neorealism, Russian film literature never paid more than a passing attention to them. Foreign film historians, including Italian scholars, didn’t deal with them extensively either. Only in 2008 «Positif» published an analytical article by Lorenzo Cordelli that the author polemizes with. Keywords: Michelangelo Antonioni, Luchino Visconti, Umberto Barbaro, neorealism, Italian documentary cinema, 1940s, manifesto of 1939, Antonioni’s philosophy372 CINEMA AND THEATER (II) Aleksandra TUCHINSKAYA. Theatricality vs. film reality. Two reviews of Shaliapin and Pabst’s «Don Quixote» The republication of the two opposing views of «Don Quixote» (1932) that belong to Siegfried Krakauer and Sergei Volkonskiy is preceded by a thorough investigation of the film’s production history, Shaliapin’s preparation for the part, Pabst’s interpretation of the famous story, as well as of other responses to the film that provide context for the two main texts. Keywords: Georg Wilhelm Pabst, Maxim Gorky, Feodor Shaliapin, Anatoly Lunacharsky, opera «Don Quixote», 1930s, sound film, film adaptation. Natalia MILOSERDOVA. «You are an impudent baggage, but you are very talented». Theater work of Margarita Barskaya. The new portion of materials concerning the life and work of Margarita Barskaya that have been discovered by Natalia Miloserdova deals with Barskaya’s stage debut. Diaries of the young actress and the future director preserved a lot of acid and even arrogant remarks on her older colleagues mixed with her thoughts on theater in general. Keywords: Margarita Barskaya, Tatischev, theater history of the 1920s, Vera Komissarzhevskaya, «Red Torch» theater. Sergei EISENSTEIN. Several words about theater (Publication, introduction and commentary by Natalia Ryabchikova) S.M.Eisenstein was abroad for almost 3 years. From August, 1929 till April, 1932 together with E.Tisse and G.Aleksandrov he traveled to Germany, France, England, Belgium, the Netherlands, Switzerland, USA and Mexico. After their return the members of the trio delivered several lectures and talks on the subjects connected to their stay abroad. The stenographic record of S.Eisenstein’s talk at the Club of Theater Workers in Moscow is entitled «Film and Theater in the West» and deals almost exclusively with the director’s theater impressions of France and USA. Keywords: Sergei Eisenstein, history of American theater of the 1930s, Lillian Gish, League of Workers’ Theaters, Eugene O’Neill, realism, socialist realism Artyom SOPIN. Sergei Yutkevich’s theatrical Hollywood In the works of Sergei Yutkevich cinema was often not only a means of expression but an object of its own reflection: it is possible to mention film parodies in «Let There Be Radio!» and «Lenin in Paris», the relation of the screen to the viewer-character in «The Black Sail», «Light Over Russia» and «Lenin in Poland» as well as citations and auto-citations. One of the parts of the collage «Mayakovsky is Laughing» represents a stylization of behind-the-scenes moments of film production. However, the cinematographic «behind-the-scenes» theme first appeared in Yutkevich’s theater work. One of these projects was done anonymously and the other was never completed, but both of them were built around the same theme of Hollywood mores. Some preliminary notes towards the history of both productions and fragments of respective plays give some notion about the intentions of the director and his co-authors. Keywords: campaign against cosmopolitism, theater history of the 1940s, 1980s, Sergei Obraztsov, Sergei Yutkevich, Kirill Razlogov Natalia FOKINA. It all started with the theater It is little known that the early, pre-cinema period of Lev Kulidzhanov’s work during the time of his studies at VGIK and immediately afterwards was connected to theater. In the winter of 1954–1955 Kulidzhanov and his friend and student colleague Yakov Segel wrote a play called «Our Daughter». The play was successfully staged in more than 40 373 Soviet theaters and later became a basis for the film «Ancestral Home» («Otchiy dom»). The article traces the circumstances of the play’s conception, talks about Kulidzhanov’s theater work and includes letters from the director’s archive. Keywords: Lev Kulidzhanov, Georgiy Tovstonogov, Yakov Segel, history of theater, 1940s, 1950s, «Our Daughter» IN THE REALM OF CULTURE Mikhail IAMPOLSKI. At the frontline and behind it (About Alexei German’s «Twenty Days Without War») The article is the fragment of Mikhail Iampolski’s new book forthcoming soon. The author uses German’s work that for the first time fully shows his inimitable poetics in order to reflect on such phenomena as memory, love, the modality of remembrance, emotional shock, trauma, on the non-normative aesthetics of the Soviet cinema and the film’s imagery, the mechanism of remembrance and the mechanism of living through emotional shock, as well as on consciousness and death. CINEMA AND THEATER (III) Galina SHMATOVA. Evgeniy Kamenkovich: a theater portrait in film projection Evgeniy KAMENKOVICH: «The screen is an organic and integral part of the performance». (Interviewed by Galina Shmatova) Evgeniy Kamenkovich is a pupil of A.Goncharov; a GITIS professor who worked with A.Vasilyev and P.Fomenko students; a director whose stage productions have been performed in a number of Moscow theaters (his main venue nowadays is «Masterskaya Petra Fomenko» theater); he’s received numerous theater awards. If we were to try to define his work in a few words we could say that he tends to use complex, hard to stage prose; at the same time his shows are marked by their ease, ingenuity, dynamism and clear-cut structure... as well as by the frequent use of different elements of cinematic means of expression. The poetics of recent Kamenkovich’s productions infused with cinematographic techniques is the object of the author’s reflections. Keywords: Evgeniy Kamenkovich, Petr Fomenko, film screen on stage, film in theater, «Ulysses». Boris Ryzhiy, media aesthetics, television theater, modern day culture, television culture Kseniya PERETRUKHINA. Down with video projection! or Towards the future of video technologies in theater production. An aesthetic manifest of the film and theater director and designer. Birgit BEUMERS, Mark LIPOVETSKY. «God is blood»: theater and cinema of Ivan Vyrypaev A thorough study of Ivan Vyrypaev’s work, his directorial method, his aesthetic and philosophical position as they manifest themselves in his stage shows-performances. Among the key themes of the director’s artistic statements are the existential choice, the sacred and the relation to it, the conditions of modern-day existence and the possibility or impossibility of keeping an individual human as well as the worldview of his generation and its problematizing. According to the authors it is precisely the paradoxical artistic philosophy of the sacred, which is theomachic but not atheistic in nature, that has become the driving force behind Vyrypaev’s film and theater works. Keywords: Ivan Vyrypaev, New Drama, verbatim, theater.doc, performance, change of historical paradigm, theater history, 2000s.374 Aleksandr RODIONOV: «If somebody doesn’t like something, the author is not afflicted by it» (Interviewed by Diana Grigoryeva and Ivan Vasin) Among the topics of the interview are the methods of teaching scriptwriting at Marina Razbezhkina’s school, the «verbatim» technique and its Russian peculiarities, the transformation of the accustomed notions «director» and «scriptwriter», the upgrading of the notion of «auteur cinema», «New Drama» as a fashionable commercial trend and as a genuine aesthetic phenomenon, existence or absence of a truly avant-garde element in the «New Drama», a spectator of a documentary theater, political vectors of European development and their perception by the well-known playwright. Keywords: New Drama, verbatim, history of the Russian theater, 2000s, documentary theater, «Lyubimovka», Ivan Vyrypaev, Vasiliy Sigarev, Eduard Boyakov, Mikhail Ugarov, Stephen Daldry, Boris Khlebnikov, theater.doc EXPERIENCE Anatoliy SHAKHOV. Cinematographic landscapes of Egypt (1914–1927) This article is devoted to cinematic process in Egypt which had been staying for a long time outside of the interests of the Russian Humanitarian Scientific: British Protectorate period and the early years of constitutional monarchy (1914–1927). In the context of socio-political, cultural and religious situation, it reflects the specifics of the formation of the prerequisites for the emergence a national film industry in the country, talks about the first Egyptian film enthusiasts. Keywords: Cinema of Egypt, Islam, World War I , the emergence of distribution in Egypt, screen culture of Egypt, Mohammed Karim, Hassan Sharif, «Ihya al-fann at-tamsil», Fawzi al-Gazairli, «In a country of Tutankhamun» (Phi bilad Tut Ankh Amun) Mohamed Bayoumi, Yusuf Wahbi, George Abyad, Amin Atallah, Youssef Wahbi, Aziz Eid, Okkasha, Ali al-Kassar, Naguib al-Rayhani, Salama al-Higazi, Aziza Amir CINEMA AND THEATER (IV) Zbigniew OSIŃSKI. Andrzej Wajda’s unrealized films about «Theater Laboratory» «Perhaps, it is the last chance to film “Apocalypsis”…» Letters of Andrzej Wajda, Zbigniew Cynkutis and Jerzy Grotowski (Publication and commentary by Zbigniew Osiński; translated by Denis Viren) The article reveals a little-known chapter in the work of Grotowski and in the career of Andrzej Wajda. The Polish director wanted to preserve on film perhaps the most important of Grotowski’s productions, «Apocalipsis Cum Figuris». Unfortunately, the film was never made. The letters of the two directors and one of the main actors of Theater Laboratory serve as a cause for reflection on the possibility of film and theater’s interaction and cooperation. Keywords: Andrzej Wajda, Jerzy Grotowski, Polish cinema, Polish theater, Theater Laboratory, «X» Film Unit. Ganna VESELOVSKAYA. Ukrainian theater avant-garde and cinema In the 1920s Ukraine the union, interaction and mutual influence of the two arts were quite extraordinary. Moreover, it was the theater avant-garde that served as the main donor and benefactor of the Ukrainian film in the period of its active becoming. The article deals with theater productions of the leading avant-garde directors, such as Les Kurbas and Faust Lopatinsiy that used principles of cinematic thinking and the experience 375 of world cinema of the period in order to successfully embody their stage conceptions. The article also includes detailed descriptions of Boris Glagolin’s stage productions. Keywords: A.Serdyuk, Axel Lundin, Faust Lopatinskiy, Les Kurbas, Boris Glagolin, film and theater, theater history, 1920s, screen on stage, «Jimmy Higgins» show, Iosif Girnyk, «Berezil» theater, «Kunst-Winkle» theater, Ukrainian avant-garde Jan BERNARD. Stylized actor in a stylized film (Translated by Maria Edemskaya) The article deals with the methods of working with actors as used specifically in Vera Chytilová’s film «We Eat the Fruit of the Trees of Paradise» («Ovoce stromu rajských jíme»), and indirectly in the Czech cinema of the 1960s in general. The background in experimental theater added to the director’s paradoxical way of thinking produced corresponding results: the actors were ready for the required kind of «play-acting» because at «Studio «Ypsilon»» there were certain methods of breaking a character down into other, non-histrionic elements. Fragmentation of gestures and «freezing» in different poses were customary because graphic art played an important role in this theater. The article shows how acting becomes a way to express what Jan Schmid called the art of separating words from gestures, acoustics from standard intonation, words from their optical form, facial gestures, and movement. Keywords: Vera Chytilová, Czech New Wave cinema, Jan Schmid, Ester Krumbachová, Jitka Novákova, gesture in film, «Studio Ypsilon» theater Svetlana ORESHENKOVA. Jean-Pierre Ponnelle: a master of unmoving pictures. A short essay about the noted opera director’s creative biography and about his work in cinema. Keywords: Jean-Pierre Ponnelle, film adaptations of opera FILMOGRAPHY Filmography of foreign films distribution in Russia. 1907–1913. Compiled by M.N.Iordanskiy (part III, 1911). (Publication and introduction by Svetlana Ishevskaya). The next part of the filmography of foreign films that were distributed in the Russian Empire prior to World War I. Keywords: early cinema, Russian film distribution, filmographic description, Russian branches of foreign film companies MARGINALIA Nina TSYRKUN. «Phenomenon of postmodernism» and the new Russian cinema. Marginalia to Nadezhda Mankovskaya’s book Drawing on reflections of a renowned philosopher Nadezhda Mankovskaya on the change of the aesthetic paradigm, the essay represents an original attempt at scrutinizing the present-day Russian cinema from the point of view of its correspondence to the changing aesthetic context. Keywords: postmodernism, post-aesthetics, non-classicism, Russian cinema, 2000s, Ivan Vyrypaev, mainstream, art-house, Timur Bekmambetov, Igor Voloshin, Aleksei Uchitel
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является незаконным.