BIOGRAFIA

Vladislav Vasil'evič Ivanov dirige il Settore teatrale dell’Istituto statale di Storia delle arti di Mosca. Ha scritto Russkie sezony teatra ‘Gabima’ (Le stagioni russe del teatro ‘Habima‘, Mosca, 1999), GOSET: politika i iskusstvo. 1919-1928 (Il teatro ebraico di Stato: politica e arte, Mosca 2007). Ha curato i quattro numeri dell’almanacco ‘Mnemozina. Dokumenty i fakty iz istorii otečestvennogo teatra XX veka ‘ (Mnemosina. Documenti e fatti della storia del teatro russo del XX secolo, 1996-2009), come anche i due volumi Evgenij Vachtangov: dokumenty i svidetel’stva (Evgenij Vachtangov: documenti e testimonianze, Mosca 2011). Ha pubblicato numerosi saggi e materiali d’archivio relativi all’attività di Evgenij Vachtangov, Michail Čechov, Aleksandr Tairov, Fedor Komissarževskij, Vasilij Sachnovskij, Sergej Ejzenštejn, Aleksej Granovskij, Nikolaj Evreinov. vladislavIvanov09@yandex.ru

ABSTRACT

In 1912 S. An-Skij (pseudonym Shloyme-Zanvl Rappoport) produced the
first version of Dibbuk, had written a play centered on the unhappy story of
two young lovers belonging to a Jewish community. The work, had
undergone a long process of revision, which had lasted till 1919. It had
been almost certainly written in Russian, and then translated by the author
himself into Yiddish and by the poet Bjalik into Hebrew.Basing himself on
the Hebrew version, in 1922, Evgenij Vachtangov staged, with the ‘Habima’
Theater, a performance which left its mark in Russian and World theater.
In the present essay, the author examines the way the director elaborated
and staged his performance, using a combination of textual, ethnographic
and ‘mystical’ material. Having begun with the idea of transferring on the
stage the traditions and costumes of Jewish villages, Vachtangov soon
realized the ineffectiveness of this folkloric approach. The nucleus of his
interpretation became instead the ‘mystical’ aspect of the play, which was
scenically translated into an ‘ecstatic’ approach, in which every situation is
presented in its extreme fullness and intensity. From here came the daring
exasperations, the grotesque, the extraordinary deformity of the acting as
well as the great expressiveness of the scenic elements (from the rhythmic
framework to the entire figurative system), which astonished the public
and the critics with its originality.

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