New Drama in Russian

J.A.E. Curtis is a Professor of Russian Literature at the University of Oxford, UK. She is the author of A Reader’s Companion to Mikhail Bulgakov’s ‘The Master and Margarita’ (2019), Mikhail Bulgakov (2017), and The Englishman from Lebedian': A Life of Evgeny Zamiatin (2013).

• List of ContributorsIntroduction: Recent Developments in Russian, Ukrainian and Belarusian Drama, J. A. E. Curtis (University of Oxford, UK)Part I. Russia1. The Story of Russian-Language Drama since 2000: PostDoc, the Postdramatic and Teatr Post, Marie-Christine Autant-Mathieu (CNRS, and Sorbonne University, France)2. Giving Testimony in the Face of of an Authoritarian Regime: The Evolution of Documentary Forms at Teatr.doc, the KnAM Theatre, and the Belarus Free Theatre, Lucie Kempf (University of Lorraine at Nancy, France)3. From Stalinist Socialist Realism to Putinist Capitalist Realism: Tracing Cultural Ideology in Contemporary Russia, Alexander Trustrum Thomas (University of Oxford, UK)4. Conversation with Mikhail Durnenkov and Maria Kroupnik at Liubimovka Festival, Moscow 2017, J. A. E. Curtis (University of Oxford, UK)5. 'Class Act' in Russia and Ukraine: Youth Drama Projects and Social Theatre Practice, Maria Kroupnik (School of Economic and Social Sciences, Moscow, Russia)6. Conversation with Sasha Denisova, Moscow 2013, Susanna Weygandt (Sewanee: The University of the South, USA)7. Conversation with Ivan Vyrypaev, Moscow 2013, Susanna Weygandt (Sewanee: The University of the South, USA)8. Absence on Stage in Ivan Vyrypaev's July, Valeriia Mutc (Yale University, USA)Part II. Ukraine9. The Watershed Year of 2014: The 'Birth' of Ukranian New Drama, Noah Birksted-Breen (University of Oxford, UK and University of Manchester, UK)10. The Playwright Overlooked: Personal Reflections on Two Years in Ukranian Theatre, 2017-2019, Jack Clover (Independent Theatre-Maker, UK)11. A New 'Dawn' in Ukrainian Theatre: Conversation with Maksym Kurochkin, 2019, Jack Clover (Independent Theatre-Maker, UK)12. Stages of Change: Ukraine's Theatre of Displaced People, Molly Flynn (Birkbeck, University of London, UK)13. 'Ne Skvernoslov', Otets Moy' ['Curse Not, My Son']: Anna Iablonskaia's The Pagans and the Search for a Language of Authenticity, Molly Thomasy Blasing (University of Kentucky, USA)14. Natal'ia Vorozhbit's Viy: Autoethnography through a Gogolian Lens, Jessica Hinds-Bond (Northwestern University, USA)Part III. Belarus15. The Transformation of the Language of 'New Drama' in Belarus as a Reflection of a New Model of Identity, Tania Arcimovich (Minsk, and Justus-Liebig University, Gießen, Belarus)16. Conversation with Natalia Koliada of the Belarus Free Theatre, London 2019, J. A. E. Curtis (University of Oxford, UK)17. Pavel Priazhko: The Text as an Instant Photograph, 2012; plus Conversation with Pavel Priazhko, 2011 and 'Essay on Pavel Priazhko's Methods', Tania Arcimovich (Minsk, and Justus-Liebig University, Gießen, Belarus)18. The Artistic Space Shared by Eastern Slavs and the Ways in which that is Created: The Way People Love by the Belarusian Dramatist Dmitrii Bogoslavskii, Natal'ia Osis (University of Genoa, Italy)Conclusion: Summer of 2019, J.A.E. Curtis (University of Oxford, UK)Recommended ReadingIndex

Curtis’s volume provides a superb scholarly overview ... an essential handbook to New Drama, accessible to practitioners who wish to study Russian-language theatre as well as to scholars, whether the latter are already familiar with New Drama and seeking close interpretation of key texts or insights into specific individuals’ creativity, or whether they require a general introduction to the movement.