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Abstract

The creative work of the stage director Vladimir Magar in Sevastopol, who had been the head of the Sevastopol Russian drama theatre named after A.V. Lunacharsky for fourteen years, hasn’t been studied yet. The study continues the series of publications about him analyzing the poetics of his performances over the period. The subject of the research is the poetics of some his productions conventionally united with a common theme. The study of his directorial manner may be indicative for identifying the patterns specifi c to regional theatrical life and may restore some episodes of the history of Russian theatre, which were out of the context of research. In the article his longtime “sentimental comedies” ‘‘The Companien in Life’’ (1997), ‘‘Dear Pamela’’(2003), as well as the current repertoire ‘‘Darling’’ (2012) are analyzed. The author defi nes the existence of such modes of organization performance, as the mounting construction of the steps (or elements thereof), contrast and connection of gaming way of existence of the living actor and the role. The complexity of the Director's methodology demonstrates the high professional level of performances staged at the Sevastopol theatre named after A.V. Lunacharsky. The role of scenographic solutions, plastic, music and other components of dramatic action is examined in the article too. The paper is based on using of the comparativehistorical method, personal audience experience of the author, the analysis of different literary sources, devoted to the performance. Magar’s principles of creation which are studied in the paper kept specifi c professional standards of the theatre and facilitated the regional development of the Russian theatrical art.

Keywords

Vladimir Magar, the Sevastopol theatre named after A.V. Lunacharsky, the production ‘The Companien in Life’’, the production ‘‘Darling’’, multi-piece basis, montage construction