Street Theater in Modern Media Space
Keywords:festival movement, media culture, street theater.
Street theater is viewed in modern media space as a reduced, repeatedly duplicated carnival area. M.M. Bakhtinâ€™s understanding of reduced forms of carnival laughter, which include humor, irony, sarcasm, is applied. The modern festival movement of street theaters in the beginning of the 21st century is analyzed. It is proved that despite the fact that street theater actively uses new interactive means of media communication, containing various information (audio-visual, acoustic, computing, optical, imagery, artistic, scenic, etc.) and contributing to the acceleration of information dissemination and audience expansion, this form of theater is rapidly degenerating. Street theater is transformed into a serious socio-cultural game. But despite the fact that media technologies offer not excess but poverty (deficit) instead of extravagant human nature, the carnival origin is preserved not in replicable formats of street theater, but in informal communication between urban and rural youth. This makes it possible to talk about the preservation of modern man's vital need for street theater and carnival communication. The analysis of these issues is based on the views of M.M. Bakhtin, V.B. Shklovsky, Guy Debord, and J. Baudrillard.
 Zach F & Gretzel U (2012), Tourist-Activated Networks: Implications for Dynamic Bundling and EN Route Recommendations. Journal of Information Technology and Tourism, 13(3), 239-257.
 Harris S (2004), â€œDancing in the Streetsâ€: The Aurillac Festival of Street Theatre. Contemporary Theatre Review, 14(2), 57-71. DOI: 10.1080/1026716041000128665.
 Moiseeva DP (2014), Sovremennyi ulichnyi teatr kak opyt demokratizatsii kul'tury (na primere Frantsii) [The Modern Street Theater as an Experiment in the Democratization of Culture (as exemplified by France)]. Vestnik Moskovskogo universiteta, Seriya 19: Lingvistika i mezhkulturnaya kommunikatsiya, 2, 95-101.
 Bokuradze DS (2015), Teatr kak gran goroda: khronotop, poetika i festivalnoe prostranstvo: avtoref. dis. â€¦ kand. kulturologii [Theater as a Side of the City: Chronotope, Poetics and Festival Space (Ph.D. Thesis Abstract)], Saransk.
 Kuzovenkova YuA & Naumova OS (2015), â€œFestivalnoe prostranstvoâ€ sovremennogo goroda, ego lokalnye formy i globalnye strategii [â€œFestival Spaceâ€ of the Modern City, Its Local Forms and Global Strategies]. Yaroslavskii pedagogicheskii vestnik 5, 354-361.
 Gafar TV & Lisitskii AV (2006), â€œBolshoe neopoznannoe dvizhenieâ€: Festivali v Volgograde kak instrument vliyaniya na gorodskuyu sredu i razvitie territorii [â€œLarge Unidentified Movementâ€: Festivals in Volgograd as a Tool of Influence on the Urban Environment and Development of the Territory]. Vestnik Assotsiatsii vuzov turizma i servisa, 10(1), 98-104.
 Pavlov AYu (2018), Ulichno-ploshchadnoi teatr kak kulturnyi fenomen: Uchebno-metodicheskoe posobie [Street-Area Theater as a Cultural Phenomenon: Study Guide], Omsk.
 Dubinkina EA & Azarenkov LS (2016), Razrabotka kontseptsii festivalya ulichnykh iskusstv kak instrumenta povysheniya privlekatelnosti sovremennogo goroda [Development of a Concept of the Festival of Street Arts as a Tool to Increase the Attractiveness of the Modern City]. Traektoriya nauki, 2, 6(11).
 Fedorenko TN (2016), Festivali i ulichnyi teatr kak ikh sosatvlyayushchaya chast v esteticheskoi srede sovremennoi kultury Evropy i Rossii [Festivals and Street Theater as Their Integral Part in the Aesthetic Environment of Contemporary Culture of Europe and Russia]. Vestnik Voronezhskogo gosudarstvennogo universiteta, 2, 144-146.
 Zhukova OM (2017), Osobennosti vzaimodeistviya iskusstv v khudozhestvennom prostranstve festivalya [Features of the Interaction of Arts in the Artistic Space of the Festival]. Iskusstvo i kultura, 1(25), 13-17.
 Murray N, Street Theatre as Propaganda: Mass Performances and Spectacles in Petrograd in 1920. Academia. https://www.academia.edu/14847279/Street_Theatre_as_Propaganda_Mass_Performances_and_Spectacles_in_Petrograd_in_1920.
 Eldhose AY (2014), Political Conscientisation through Street Theatre: A Study with Reference to Kalyanasaugadhikam: Research in Drama Education. The Journal of Applied Theatre and Performance, 9(4), 340-354. http://dx.doi.org/10.1080/13569783.2014.954811.
 Anderson E (2002), The Ideologically Driven Critique. American Journal of Sociology, 107(6), 1533-1550.
 Enderle M (2015), Mod â€“ A Youth Subculture of the Past? Seminar: The Cultural Geography of Britain under Thatcher and Blair. Julius-Maximilians UniversitÃ¤t WÃ¼rzburg Neuphilologisches Institut.
 Komandyshko EF & Semenova EA (2017), Educational Tourism: Adoption of Management Technologies in the Activity of Universities. Journal of Environmental Management and Tourism, 8, 6(22), 1183-1188.
 Banerjee A (2013), Evaluating the Role of Street Theatre for Social Communication. Global Media Journal â€“ Indian Edition 4(2), 18.
 Bhatia U, Taking It to the Streets â€“ A New Book on Leftist Theatre Group Jana Natya Manch. Time Out Mumbai.
 Baudrillard J (2013), Simulyakry i simulyatsiya [Simulacra and Simulation], Tula, 204.
 Khrenov NA (2017), Kultura, kommunikatsiya i obrazovanie: vzaimodeistvie mezhdu informatsionnoi, prosvetitelskoi i suggestivnoi funktsiyami massovoi kommunikatsii [Culture, Communication and Education: Interaction between the Information, Educational and Suggestive Functions of Mass Communication], Kulturologicheskoe prosvetitelstvo v sovremennoi Rossii: Sbornik nauchnykh statei uchastnikov kruglogo stola X Kaganovskie chteniya (Sankt-Peterburg, RGPU im. A.I. Gertsena, 18 maya 2016 g.) [Culturological Enlightenment in Modern Russia: Collection of Scientific Articles of the Participants of the Round Table "X Kaganovsky Readings" (St. Petersburg, the Herzen State Pedagogical University, 18 May 2016)], St. Petersburg, 54-64.
 Tretyakov VT (2015), Teoriya televideniya. TV kak neoyazychestvo i kak karnaval. Kurs lektsii [Theory of TELEVISION. TV as Neopaganism and as a Carnival. Lecture Course]. Ladomir, Moscow, 664.
 Semenova EA, Berladin AYu & Zaldastanov AS (2017), Pokhozhdeniya ulichnogo teatra [The Adventures of a Street Theater]. Problema Khronotopa v sovremennykh nauchnykh issledovaniyakh: Mezhdunarodnyi kruglyi stol, posvyashchennyi M.M. Bakhtinu (Moskva, 19-20 aprelya 2017 goda, Moskva): Sbornik dokladov i statei [The Problem of the Chronotope in Modern Scientific Research: The International Round Table on M.M. Bakhtin (Moscow, April 19-20, 2017, Moscow): Collection of Reports and Articles]. FGBNU "IKhOiK RAO", Moscow, 252-268.
 Debord G (2009), Obshchestvo spektaklya [The Society of the Spectacle]. Logos, Moscow, 183.
View Full Article:
How to Cite
LicenseAuthors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under aÂ Creative Commons Attribution Licensethat allows others to share the work with an acknowledgement of the work''s authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal''s published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (SeeÂ The Effect of Open Access).