2013: Numer Specjalny: Współczesny dramat rosyjski: kontynuacje i przemiany

okladka
Published: 2013-01-01

Articles

  • Russia in the Mirror of Contemporary Dramatic Works – Collage of Image

    Barbara Olaszek
    15-29
    DOI: https://doi.org/10.18778/1427-9681.S.2013.03

  • “Tupyje, dikije, idioty” vs. new theatre in Russia since the 1990s

    Katarzyna Osińska
    31-42
    DOI: https://doi.org/10.18778/1427-9681.S.2013.04

  • From ‘new realism’ towards an avant-garde search. A few remarks on the contemporary Russian dramaturgy

    Walenty Piłat
    43-48
    DOI: https://doi.org/10.18778/1427-9681.S.2013.05

  • The Deconstruction Method in Contemporary Russian ‘new drama’

    Вадим Н. Колбасин
    49-56
    DOI: https://doi.org/10.18778/1427-9681.S.2013.06

  • The Problem of Theatricality of Russian „new drama”

    Елена Н. Шевченко
    57-67
    DOI: https://doi.org/10.18778/1427-9681.S.2013.07

  • Contemporary Russian Poetry on Stage. Poetic Spectacle “Vera Pavlova. Poems about Love”

    Ewa Sadzińska
    69-78
    DOI: https://doi.org/10.18778/1427-9681.S.2013.08

  • Usage of the well-known plot in the twentieth century’s Russian drama

    Валентина Е. Головчинер
    79-93
    DOI: https://doi.org/10.18778/1427-9681.S.2013.09

  • Reception of Romantic Models in Postmodern Drama (Dmitriy Lipskerov “The Family of Freaks”)

    Татьяна Г. Прохорова
    95-104
    DOI: https://doi.org/10.18778/1427-9681.S.2013.10

  • Antiquity: a View from Modernity (“Medea” in Teatr na Taganke and in Moscow Teatr Yunogo Zritelya)

    Галина Н. Шелогурова
    105-114
    DOI: https://doi.org/10.18778/1427-9681.S.2013.11

  • Shakespearean Remakes in Recent Russian Drama

    Вера Б. Шамина
    115-124
    DOI: https://doi.org/10.18778/1427-9681.S.2013.12

  • The Metamorphoses of Don Juan in the Russian Drama of 1970–1980. The Continuation or the Death of the Character?

    Aleksandra Szymańska
    125-136
    DOI: https://doi.org/10.18778/1427-9681.S.2013.13

  • The Concept of War: from History to Mythology (The Winners’ Feast by Aleksandr Solzhenitsyn and Maria’s Field by Oleg Bogayev)

    Нина И. Ищук-Фадеева
    137-150
    DOI: https://doi.org/10.18778/1427-9681.S.2013.14

  • ‘Drama of Consciousness’ by Alexander Stroganov and Klim

    Ольга Н. Купцова
    151-163
    DOI: https://doi.org/10.18778/1427-9681.S.2013.15

  • The Realization of the Myth of Death and Rebirth (in the Play “July” by Ivan Vyrypaev)

    Elena Kurant
    165-172
    DOI: https://doi.org/10.18778/1427-9681.S.2013.16

  • A Life Trapped in Quotation. On Oleg Bogaev’s Comedy “How I Ate My Husband”

    Alexander Graf
    173-183
    DOI: https://doi.org/10.18778/1427-9681.S.2013.17

  • Return to roots. Vladimir Sorokin’s zaum

    Lidia Mięsowska
    185-198
    DOI: https://doi.org/10.18778/1427-9681.S.2013.18

  • “…and thinking about nothing”. Pavel Pryazhko’s dramaturgy of emptiness

    Irina Lappo
    199-210
    DOI: https://doi.org/10.18778/1427-9681.S.2013.19

  • Oleg and Vladimir Presnyakov’s postmodern play with the Bible

    Anna Tyka
    211-223
    DOI: https://doi.org/10.18778/1427-9681.S.2013.20

Other

  • Od Redakcji

    Olga Główko, Małgorzata Leyko
    7-9
    DOI: https://doi.org/10.18778/1427-9681.S.2013.01

  • От Редакции

    Olga Główko, Małgorzata Leyko
    11-14
    DOI: https://doi.org/10.18778/1427-9681.S.2013.02