August 13, 2019
I am very excited to announce the publication of New Russian Drama: An Anthology. The volume features 10 plays (or “texts”) by contemporary playwrights writing in Russian. It is framed by an Introduction by myself and Susanna Weygandt and what I think will be a somewhat controversial Foreword by the eminent Richard Schechner.
Enormous thanks to everyone who contributed to this project: Susanna Weygandt, Ania Aizman, Thomas Campbell, Kira Rose, Sasha Dugdale, Christine Dunbar, Christian Winting, Richard Schechner and, last but not least, the playwrights! Also major thanks to Boris Wolfson, Julie Curtis, Duska Radosavljevic, and Christian Parker for their very generous blurbs.
I include the Table of Contents and a link to the official book site. According to Columbia University Press, customers in the United States, Canada, and most of Latin America, the Caribbean, and East Asia can receive a 30% discount off the price of the book by using the promo code CUP30 on the CUP website. Customers in the United Kingdom, Europe, Africa, Middle East, South Asia, and South Africa should contact CUP’s distributor John Wiley & Sons to order the book and for information regarding price and shipping cost. Of course, the anthology is also available from other booksellers on- and offline.
Please help spread the news and consider teaching or staging these wonderful plays in your courses and theaters (or vice versa)!
TABLE OF CONTENTS
Foreword, by Richard Schechner
Introduction by Maksim Hanukai and Susanna Weygandt
A Chronology of New Russian Drama
1. Plasticine, by Vassily Sigarev
2. Playing the Victim, by the Presnyakov Brothers
3. September.doc, by Elena Gremina and Mikhail Ugarov
4. The Brothers Ch., by Elena Gremina
5. The Blue Machinist, by Mikhail Durnenkov
6. The Locked Door, by Pavel Pryazhko
7. The Soldier, by Pavel Pryazhko
8. Summer Wasps Sting in November, Too, by Ivan Vyrypaev
9. Somnambulism, by Yaroslava Pulinovich
10. Project SWAN, by Andrey Rodionov and Ekaterina Troepolskaya
About the Authors
New Russian Drama took shape at the turn of the new millennium—a time of turbulent social change in Russia and the former Soviet republics. Emerging from small playwriting festivals, provincial theaters, and converted basements, it evolved into a major artistic movement that startled audiences with hypernaturalistic portrayals of sex and violence, daring use of non-normative language, and thrilling experiments with genre and form. The movement’s commitment to investigating contemporary reality helped revitalize Russian theater. It also provoked confrontations with traditionalists in society and places of power, making theater once again Russia’s most politicized art form.
This anthology offers an introduction to New Russian Drama through plays that illustrate the versatility and global relevance of this exciting movement. Many of them address pressing social issues, such as ethnic tensions and political disillusionment; others engage with Russia’s rich cultural legacy by reimagining traditional genres and canons. Among them are a family drama about Anton Chekhov, a modern production play in which factory workers compose haiku, and a satirical verse play about the treatment of migrant workers, as well a documentary play about a terrorist school siege and a post-dramatic “text” that is only two sentences long. Both politically and aesthetically uncompromising, they chart new paths for performance in the twenty-first century. Acquainting English-language readers with these vital works, New Russian Drama challenges us to reflect on the status and mission of the theater.
Source: Columbia University Press