Turkish – speaking theatre in the context of world cultural integration process
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ROŞCA, Angelina. Turkish – speaking theatre in the context of world cultural integration process . In: Artă şi Educaţie Artistică . 2008, nr. 1(7), pp. 50-62. ISSN 1857-0445.
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Artă şi Educaţie Artistică
Numărul 1(7) / 2008 / ISSN 1857-0445

Turkish – speaking theatre in the context of world cultural integration process

Pag. 50-62

Roşca Angelina
 
Academy of Music, Theater and Fine Arts
 
Disponibil în IBN: 16 decembrie 2013


Rezumat

In the study Turkic-speaking theatre in the context of world cultural integration processes the author investigates the dynamics of the evolution of Turkic-speaking theatres. Angelina Ro ca stresses that these theatres have derived inspiration from the traditions of the Russian theatre, using the Stanislavsky system, the methodology of the Malyi Theatre, the principles of the Vakhtangovian school. In most of the cases the members of the creative teams are graduates of the most prestigious Russian theatre schools. The colaboration with the theatres from the Russian space continues. There are some meritorious experiences of the Turkic-speaking artists on the stage of the institution managed by Anatoly Vasiliev (Theatre School of Dramatic Art, Moscow). The author minutely focuses on the festivals like Nauruz Tuganlik, Jelanyi bereg, where a change of ideas and energies takes place between the theatres regarded, as well as on the activity of the international organization TURKSOY. The author reaches the conclusion that today, in all the spheres of dramatical art within the analized area, a progressive professionalization is taking place. A taste for innovational searchings is developing. The Turkic-speaking theatre is within the mainstream of experiences connected with the synthesis of different cultures, theatre schools, aesthetic trends. It is well aware of the fact that the trend of contemporary world is the stimulation of dialogue between the civilizations, the dynamization of the multiculturalism. On this background remains pale the image of the Gagauz theatre which, whilst slipping down towards deprofessionalization, stays isolated from the world theatre developments of cultural integration, as well as from theatre movement from Republic of Moldova.