The sociology of theater is an area of the sociology of art that studies the interconnection and interaction between society and theater .
It arose at the intersection of sociology, social psychology , theater history and theater theory and, more specifically, studies the role of theater in certain social conditions, as well as how social reality is reflected in the theater [1] .
It is recognized that the theater process cannot be considered outside the context of public life. According to the researcher V.N. Dmitrievsky, “the relationship of technological progress and culture in a certain way determines the development of the theatrical process: its relationship with other forms of art and, of course, the relationship of theater and public” [1] .
Content
History
An increase in the intensity of artistic life in the 20th century and the development of artistic forms in the system of mass communication contributed to an increase in interest in the sociology of art in general, including the sociology of theater [2] .
The sociology of the theater in Western countries is reflected in the works of such sociologists as Max Herman , Georg Simmel , Francis Ferguson, Jean Duvigno , Irving Hoffmann .
Max German made a huge contribution to the formation of the foreign sociology of the theater at the beginning of the last century: “A number of his works are devoted to comparing the so-called theatrical space-event, i.e. "Agency" art space, and real theater space intended for spectators. Such an analysis, according to the scientist, allows us to identify both similarities and differences in historical eras, in the social context of which a particular theatrical performance was created ” [3] .
Jean Duvigno, the founder of the French tradition of theater sociology, investigated the social role of the theater, as well as aspects such as imagination, stage play and the role of the actor not only in performance, but also in society (major works: “Sociology of the theater” 1965, “Sociology art "1969) [3]
Later, the development of the sociology of the theater was facilitated by the studies of Irving Hoffmann, who developed the concept of “social dramaturgy” and believed that any human activity is an “individual performance” and a way of “self-presentation of personality” [3] .
Theater Sociology in Russia
The first sociological research of the theater in Russia began in the 70s of the XIX century. In Moscow during this period A.D. Yartsev examined the audience of folk theaters at the Trekhgornaya manufactory , the factories of Zindel and Tili; also data on sociological research of the theater public of this era can be found in the work of Yu.U. Fokht-Babushkina "The audience of the theater in Russia - sociological evidence 1890-1930" [3] .
After the 1917 revolution, theatrical studies became more systematic and pragmatic, and at that time polls of theatrical spectators about the work of such theatrical figures as A.Ya. Tairov , E.B. Vakhtangov and V.E. Meyerhold [3] .
Further, in the 30-50s, the sociology of the theater was banned for ideological reasons, and new large-scale studies were born in the 60s and 70s, such as the “Sociological Study of the Repertoire of Drama Theaters of the USSR of the 1960-1970s”, “Theater in the spiritual life of a modern young man ”and“ Spectator in the theater ” [4] [3] . They were performed by the research group "Sociology and Theater" at the Leningrad branch of the All-Russian Theater Society. The group focused on the social functioning of the theater, the formation of the theater repertoire, on the motives and incentives for the behavior of the audience [1] .
Application
At the present stage, in the main directions of the sociology of the theater, experts single out: the study of the characteristics of the interaction of theater groups with the audience, the role of the theater as a "living" means of artistic communication in comparison with television and cinema, as well as the study of new trends in the theatrical sphere [3] . An example of such new trends is the immersive theater, which is based on the effect of the complete immersion of the audience in the performance of the play:
“Almost from the threshold, a visitor to an immersive theater becomes a participant in what is happening: he is given the opportunity to wander around specially prepared rooms, interact with actors,“ helping ”them in the performance process and“ developing ”the proposed storyline” [3] .
This brings the audience and theatrical performance as close as possible and is thus the most convenient object for studying the effect of theater on society.
Studying the content and main trends of the theatrical repertoire, one can notice in them the manifestation of socio-historical patterns, as well as the reflection of real social values [1] . For example, Soviet researchers (members of the Sociology and Theater group) during sociological studies of theatrical performances, performances were categorized in terms of the implementation of four groups of social values in them: relevant social values, universal human values, artistic culture values and mass perception values [1] .
Discussion
It is recognized that in a society that is becoming more and more globalized and in which a new type of viewer is being formed, the sociological study of cinema and theater is of particular relevance [3] .
The emphasis is also placed on the fact that with a sociological approach to the study of theatrical productions, it is necessary to take into account not only art criticism assessments of a work:
“They, as a rule, do not take into account the features of the functioning of the work in a mass audience, partially or unilaterally reflect the nature of this functioning. When starting to develop a sociological method for analyzing theatrical flow, it must be borne in mind that a theatrical performance should be regarded as a phenomenon containing the uniqueness of a work of art and as an object of cultural consumption by a wide audience ” [5] .
Literature
Theater and public: The experience of sociological research 1960-1970-ies - Otv. ed. V.N.Dmitrievsky - M .: State Institute of Art Studies, "Canon +" ROOI "Rehabilitation", 2013. - 400 p. - (Sociology and economics of art: scientific heritage). - ISBN 978-5-88373-336-8
Ed. A.A. Ivina. Philosophy: Encyclopedic Dictionary. - Moscow: Gardariki, 2014 .-- 1072 p. - ISBN 5-8297-0050-6 (per.).
Notes
- ↑ 1 2 3 4 5 Theater and public: The experience of a sociological research of the 1960–1970s / V. N. Dmitrievsky. - Sociology and economics of art: scientific heritage. - Moscow: State Institute of Art Studies, "Canon +" ROOI "Rehabilitation", 2013. - 400 p. - ISBN 978-5-88373-336-8 .
- ↑ Philosophy: Encyclopedic Dictionary / Ed. A. A. Ivina .. - Moscow: Gardariki, 2014 .-- 1072 p. - ISBN 5-8297-0050-6 (per.).
- ↑ 1 2 3 4 5 6 7 8 9 Evseeva Y. V. , Yadova M. A. Sociology of Cinema and Theater: History and Present: An Introduction to the Thematic Section // Social and Human Sciences. Domestic and foreign literature. Series 11: Sociology. Abstract journal. - 2017. - No. 2 . - S. 6-20 . - ISSN 2219-8830 .
- ↑ Sokolov K. B. [ http://artculturestudies.sias.ru/upload/iblock/ba9/hk_2013_09_66_89_sokolov.pdf Sociology of art as part of art history: formation and development] // Social Philosophy and Sociology of Art Culture. - 2013. - No. 9 . - S. 66-89 .
- ↑ Saprykina M. Yu. Actual problems of the formation of the theater's repertoire policy (Russian) // Tauride Studios. Series: Culturology: journal article - scientific article. - State budgetary educational institution of higher education of the Republic of Crimea "Crimean University of Culture, Arts and Tourism", 2013. - No. 4 . - S. 52-57 .