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Editors notes


On February 2526, 2012, the scholarly conference Dialogues and Meetings: Russian and American Theater inthe 20th Century took place at the American Corner ofthe Vologda Academic Library. It was the initiative ofFulbright alumni from Vologda.

Scholars from Yaroslavl, St. Petersburg, Moscow, and Vologda met todiscuss some trends oftheater development inthe two countries. Conference papers were devoted toAmerican and Russian theater as well as the dialogue on theatrical traditions inthe 20th and 21st centuries.

Inthe framework ofthe conference there were readings ofnew plays bycontemporary American playwrights. The readings are part ofthe project New American Plays for Russia (author and curator John Freedman, Moscow). The plays were translated bythe Center for International Theatre Development and supported bythe U.S.Embassy inMoscow under the aegis ofthe U.S.-Russia Bilateral Presidential Commission.

Vologda theater actors presented two famous contemporary plays; End Days byDeborah Zoe Laufer, translated byNina and Alexandra Belenitskaya, and Book ofGrace bySusan Lori Park, translated byfamous Russian playwright Yury Klavdiev from the word-for-word translation byMariya Nikolaeva.

Maxim Gudkov, actor and teacher from St. Petersburg, presented the paper on Sanford Meisners teaching technique. After the conference he conducted atraining session for Vologda theater actors, based on Meisners approach.

The conference inVologda was supported bythe Fulbright program inRussia, the Consulate General ofthe United States inSt. Petersburg, the Vologda State Pedagogic University, PH-International-Russia, and John Freedman who kindly provided the event with the plays ofcontemporary American playwrights.

At the opening ofthe conference, the consul from the Consulate General ofthe United States inSt. Petersburg, John Etcheverry, and the professor, honored worker ofculture ofthe Russian Federation Tatyana Zlotnikova (Yaroslavl) greeted the audience.

This book is acollection ofconference papers grouped into five sections according totheir themes. The first section, InCaptivity ofTime, is comprised ofpapers that discuss historical figures ofAmerican and Russian theater tradition Isadora Duncan and Anatoly Efros and also the phenomenon ofSilver Age mask. The second section, Teachers and Students, includes papers that assess Russian and American theater teaching tradition and mutual relations between them. The third section, The Footlights, contains studies ofstage design inthe USA, analysis ofAmerican plays incontemporary Russian theaters, and reviews ofperformances based on the prose ofthe Russian immigrant writer Sasha Sokolov who lives inthe USA. The fourth section, Tothe Music Sounds, introduces contemporary musical genres on stage and reflects their innovative traits. The fifth section, Outside the Stage, presents some contemporary works which are relatively, but nevertheless tightly connected with the theater. The organizers emphasize interdisciplinary and comparative approach ofthis book.

Therefore, this collection brings together avariety ofpapers that reflect on contemporary and historical issues ofAmerican and Russian theater studies as well as mutual influence oftwo theatrical traditions.

The editors thank the authors for their contributions and hope for future collaboration.

The publication became possible thanks tothe support oftheUS Consulate General inSt-Petersburg.



Elena Yushkova, Lyudmila Yakusheva












   

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