Untypical Organizational and Creative Forms of the Russian Repertory Theatre in the 2000s

The article considers those organizational and creative forms of repertory theatres which arose at the turn of the 21st century and are not characteristic for the Russian theatrical practice. They are the theatre conglomerates uniting several theatre groups of various artistic styles as well as some theatres without any stock company, which, while claiming to be project-type ones, nevertheless tend to be repertoire-based. The article argues that the theatres without any stock company should be classified as repertory theatres, which may provide the academic novelty of this work. The process of functioning of the nontraditional organizational and creative forms is examined in correlation with the development of the modern theatrical art language, which makes the article really up-to-date. The article is based upon the materials of such Moscow and Saint-Petersburg theatres as: the Baltic House Festival Theatre, the Osobnyak Theatre, the Praktika Theatre, the Priyut Komedianta Theatre, the Theatre.doc, the Theatre of Nations, the Centre of Dramaturgy and Directing, and the Dramatic Art School. The article also analyzes the interaction between traditional and alternative forms of the repertory theatre activity and compares them with foreign repertory models.

documentality, the Moscow Art Theatre, performativity, stock company, project theatre, repertory theatre, theatres without a stock company

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