The author focuses on selected productions of this year’s special program category of the Russian Theatre Festival Golden Mask 2018 – Russian Case in Moscow. The comparison of the latest productions of different genres and artistic aesthetics reveals the common interest of their creators in urgent socio-cultural and historical-political themes. The Russian Case category introduced Russian theatre this year as an increasingly active tool for social engagement, which is concerned with the present or the past of the nation or individual. With the vision of a better future, creators confront themselves with collective and individual memories and seek ways to cope with them in an artistic and human way.
Since the beginning of the 20th century theatre has developed a completely different form of expression tools. The development of architectural methods has reached the point where it is continually moving apart from its archetype to newer and newer intellectual encryption. The method of its creation and perception have been radicalised by means of new media to offer a greater extent of its own representation. Architecture in the context of our study will be represented by the scenography. Architecture will be explored in relation to a space and its inherent characteristics by means of heterotopy and synaesthesia. Space with its specific role becomes a sphere of imagination for the audience. The study does not consider the classical term of architecture as the building and scenography as a staging of decorative mise-en-scéne.
The present study offers a critical reflection of contemporary Slovak authorial production. Focusing on three films, the author analyses the authors′ approaches to representing reality from a formal point of view. The author claims that all of them relativize the status of documentary film, using as a tool of critical analysis Carl Plantiga’s definition of documentary film, included in his concept of “asserted veridical representation”. The films under analysis use three formally different approaches of relating to social reality. One relies on an acted form, the second takes the form of a historicizing essay, and the third promotes the author’s subjective views through a cut collage of motifs stemming from reality.