stepsШаги/StepsShagi / Steps2412-94102782-1765The Russian Presidential Academy of National Economy and Public Administration10.22394/2412-9410-2022-8-1-140-160steps-51Research ArticleПЕРФОРМАТИВНЫЕ ИСКУССТВА В ПУБЛИЧНОМ ПРОСТРАНСТВЕTHE ARCHAIC AND THE CONTEMPORARY IN THEATRE AND CINEMAСпектакль-променад «Свинарка и пастух»: ресайклинг фильма в декорациях ВДНХPromenade “They met in Moscow”: Cultural recycling of the film in the scenery of VDNKhhttps://orcid.org/0000-0003-0315-9044СеменоваН. В.SemenovaN. V.

Наталья Валерьевна Семенова кандидат филологических наук доцент, кафедра русского языка как иностранного и методики его преподавания

199034, Санкт-Петербург, Университетская наб., д. 7/9 Тел.: +7 (812) 328-08-42

Natalia V. Semenova, Cand. Sci. (Philology) Associate Professor, Department of Russian Language for Foreigners and Methods of its Learning

7/9 Universitetskaya Emb., St. Petersburg, 199034

Tel.: +7 (812) 328-08-42

n.v.semenova@spbu.ruСанкт-Петербургский государственный университетРоссияSaint Petersburg State UniversityRussian Federation20223001202581140160Copyright © Семенова Н.В., 20252025Семенова Н.В.Semenova N.V.This work is licensed under a Creative Commons Attribution 4.0 License.https://steps.ranepa.ru/jour/article/view/51

В статье проводится анализ сайт-специфического спектакля Мобильного художественного театра «Свинарка и пастух» (2019), в основе которого лежит одноименный фильм И. А. Пырьева 1941 г. Спектакль-променад рассматривается в контексте культурных проектов, связанных с интерпретацией об­раза и пространства ВДНХ в постсоветский период (Русский па­вильон на Венецианской архитектурной биеннале 2016 г. и др.). Показано, что оригинальная концепция выставки 1930-х годов оказала влияние на советскую комедию, а затем подверглась ре- сайклингу в спектакле «Свинарка и пастух». Спектакль продол­жает темы мультикультурности и транснационализма, заложен­ные в генеральный план ВДНХ. Кроме того, променаду удалось передать опыт переживания архитектуры. Рецепция простран­ства осуществляется сквозь призму личных историй (архитек­тора В. К. Олтаржевского, драматурга В. М. Гусева, оператора В. Е. Павлова), описание ключевых локаций (фонтан «Дружба на­родов»), линию новых Глаши и Мусаиба, которых играют экспаты Ян Гэ и Один Байрон. Финал «Свинарки и пастуха» демонстриру­ет притягательность ВДНХ, воплощающую золотой век советской архитектуры, несмотря на многокомпонентность ее прошлого.

The article analyses the site-specific performance by the Mobile Art Theatre of “They met in Moscow” (a. k. a. “Swineherd and Shepherd”, 2019), based on Ivan Pyriev's eponymous musical film (1941). The promenade is put in the context of cultural projects which interpret the vision and space of the Exhibition of Achieve­ments of the National Economy (VDNKh) such as the Exhibition at the Russian pavilion at the 15th International Architecture bien­nale in Venice (2016) and others. It shows that the original concep­tion of the Exhibition framed at the end of 1930s influenced the So­viet comedy and then has been recycled in the performance “Swine­herd and Shepherd”. The performance continues to explore the themes of multiculturalism and transnationalism that were part of the overall plan of VDNKh. In addition, the promenade managed to transmit the experience of the architecture. Space perception is achieved through the personal life stories of Viachaslav Oltar- zhevskii, Victor Gusev and Valentin Pavlov, the depiction of the most famous landmarks (the fountain “Friendship of peoples” etc.), the story line of the new Glasha (Yang Ge) and Musaib (Odin Bi­ron). The final song at the end the promenade emphasizes the se­ductiveness of VDNKh as a representation of the Golden Age of So­viet architecture despite the complexity of its past.

ВДНХ«Свинарка и пастух»МХТкультурный ресайклингмеморискейпдружба народовмультикультурализмбиографический нарративмифVDNKh“They met in Moscow” (“Swineherd and Shep¬herd”)Mobile Art Theatrecultural recyclingfriendship of peoplesmulticulturalismbiographical narrativemythСтатья подготовлена при поддержке Российского научного фонда, проект № 19-18-00414 («Советское сегодня (Формы культурного ресай- клинга в российском искусстве и эстетике повседневного. 1990—2010-е годы)»). Выражаю искреннюю благодарность рецензенту и редактору за комментарии и внимательное отношение к тексту статьи.The paper is supported by the Russian Science Foundation, project № 19-18-00414 (Soviet Culture Today (Forms of Cultural Recycling in Russian Art and Aesthetics of the Everyday Life. 1990s — 2010s)).ReferencesБишоп 2018 — Бишоп К. Искусственный ад: Партиципаторное искусство и политика зрительства / Пер. с англ. М.: V-A-C press, 2018.Biggin, R. (2017). 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The authors declare that there are no conflicts of interest present.