Teatro sociologijos štrichai (metodo taikymas 1990-1999 m. lietuvių teatro praktikai)

LTReikšminiai žodžiai: Auditorija; Lietuvių teatro praktika; Politika; Recepcija; Socialiniai vaidmenys; Teatrinė praktika; Teatro modelis; Teatro sociologija; Teatrocentrizmas; Visuomenės modelis; Audience; Model of Society; Politics; Practice of Lithuanian theatre; Reception; Social roles; Sociology of Theater; Theater model; Theatre sociology; Theatrical practice; Theatrocentrism.

ENThe sociology methods and its research principles can be successfully applied to the analysis of Lithuanian theatre of 1990-1999 representing the formation of the new Lithuanian society in a new epoch. Nevertheless, to realize the changes which took place during the 1990s, a decade earlier, i.e. the 1980s is to be recalled, when the Lithuanian stage entered the period of “theatricality". Then, in addition to real life, it demonstrated the being of the scene, and releasing its own potential it allowed spectators “to sec the unseen and to hear the unheard’ - all what is hidden behind the theatre illusion. The well known directors of that period had concentrated at individual artistic quest accusing the theatre creators of younger generation of breaking off from reality, for their Epicurism. In that respect the Lithuanian theatre art of that period underwent deep crisis caused by the gap between theatrical manifestations and people’s expectations and social reality. Cause No. 1 of that crisis was a certain dramatic selection in social reality when an artistic personality was isolated from the collective anonymous mass for not performing any social part.Cause No. 2 was the fact that the previous social reality itself looked as if existing in a transit zone in which the characters of the former society “were wandering” while the new reality tried the future social roles and formed into a future social structure. Cause No. 3 was politics of the first Lithuanian Revival years which assumed the role of the institution consolidating the people, it turned into theatrical deed representing the existence of society and reality. It converted a politician into an ideal hero solving social problems. Only at the very end of the 20th century a true dramatic hero declaring new restrictions and new threats returned to the stage. Then “the social drama” representing a different style and a different theatre model entered the scene. [From the publication]