{"id":999,"date":"2018-12-20T22:17:02","date_gmt":"2018-12-20T22:17:02","guid":{"rendered":"https:\/\/www.critical-stages.org\/18\/?p=999"},"modified":"2022-02-06T20:49:26","modified_gmt":"2022-02-06T20:49:26","slug":"12-seconds-to-the-year-of-theatre","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/18\/12-seconds-to-the-year-of-theatre\/","title":{"rendered":"12 Seconds to the Year of Theatre"},"content":{"rendered":"\n

Emiliia Dementsova<\/strong>*<\/a><\/p>\n\n\n\n

During\nthe New Year countdown, looking back on the old year, we normally indulge in\nreverie about the year to come. Trying to forget all the bad things, to leave\nall the failures behind, hoping the coming year will be better and more\nsuccessful than the one we leave behind. \n<\/p>\n\n\n\n

2019\nwas decreed the \u201cYear of Theatre\u201d in Russia, so I shall be thinking first and\nforemost about theatre as I listen to \u201cCouranty\u201d\u2014the Kremlin Clock, housed in\nthe Spasskaya Tower of Moscow’s Kremlin\u2014as it chimes in the New Year.<\/p>\n\n\n\n

We\nhave a saying in Russia, \u201cIf he beats you, it means he loves you.\u201d In Russia,\nthe theatre is an object of great love, which must be the reason why it gets\nsuch a sound flogging so often, thanks to the efforts of our inventive\nbureaucracy\u2014and, sometimes, the public. The Year of Theatre is intended to\nencompass the entire country: St. Petersburg is to host the Theatre Olympics in\n2019; the A.P. Chekhov International Theatre Festival is to be held as usual;\nthe National Theatre Award and the Golden Mask festival will celebrate their 25th\nanniversary\u2014the winners of both contests will go on a regional tour; the\nArlekin festival will showcase theatre productions for children; and, as usual,\nyoung actors from all over the world will gather at the international summer\nschool for advanced studies in theatrical arts, run by the Union of Theatre\nWorkers of Russia.<\/p>\n\n\n\n

One\nof the central features of the programme is the Theatrical Marathon, an event\nwhich is to travel over all the regions. It will start in March 2019, in\nVladivostok, to finish in Kaliningrad, in November. For the local public, it\nmeans the best shows of recent years will be brought to their own cities. They\nwill have an opportunity to meet leading actors, directors and other theatre\nmakers at public events, master classes and educational seminars. Besides,\nthere will be plenary sessions, where it will be possible to discuss vital\ntheatrical issues and projects related to the Strategy of Development of the\ntheatrical business up until 2030.<\/p>\n\n\n\n

How\nI wish the coming year could bring Russian theatre up to a completely new\nlevel, away from the firing line where it is a sitting target, not for art\ncritics, but for the authorities, with their legislative experiments, quite\ndisastrous at times. So, at the approach of the festive midnight, during the\nNew Year countdown, I will, according to Russian custom, be making wishes\u2014a\nwish for each of the 12 chimes of the clock. I am not at all hesitant to make\nmy wishes out loud. I do not fear that, if I reveal my wishes, they may never\ncome true; on the contrary, I strongly believe that the collective will may\ncontribute to the implementation of what I have envisioned. So, here are my twelve\ntheatrical wishes:<\/p>\n\n\n\n

1. Let Themis pay fewer visits to Melpomene<\/strong><\/p>\n\n\n\n

\"\"
Themis (\u0398\u03ad\u03bc\u03b9\u03c2<\/em>), A Greek Titaness, described as the \u201cLady of good counsel,” the personification of divine order, fairness, law, natural law and custom. Photo: Public domain (web<\/a>) <\/figcaption><\/figure><\/div>\n\n\n\n

The\ntrial of Kirill Serebrennikov and other defendants in the so-called case of the\n\u201cSeventh Studio\u201d was not only a serious blow to those involved. It had\nconsiderable impact on Russian theatre, in general. A lively, alert, bold\ntheatre, moving in step with the times, became endangered. There are people who\nwant to chase it back into the basements, drive it underground, as has happened\nto Theatre.doc, which now exists not \u201cthanks to,\u201d but \u201cin spite of.\u201d Naturally,\nSerebrennikov\u2019s case considerably united the theatrical community. <\/p>\n\n\n\n

Lev\nDodin was quite justified in mentioning the fact at the presentation of the\nEurope Theatre Prize. He spoke on the subject through the interpreter standing\nnext to him, since the system responsible for delivering translation to the\nguests of the event through headphones turned out to be incompatible with the\nname \u201cSerebrennikov,\u201d and it was omitted altogether. There must have been some\ntechnicality preventing the official interpreters from pronouncing this name,\njust as the government-supporting media seem to be unable to do so: even if\nthey cover the trial, their coverage is biased against the defendants, and\nsmacks of an inculpatory approach.<\/p>\n\n\n\n

And\nyet, representatives of different theatrical schools, of diverse beliefs and styles,\nhave united\u2014judging the moment as historically relevant, and the situation as\none in which keeping silent would be a crime (though there are some who choose\nto keep silent). Serebrennikov\u2019s case, the case of his \u201cSeventh Studio,\u201d is a\ndark page in the history of theatre in our country. It is not an isolated\nincident, but an illustrative one.<\/p>\n\n\n\n

Directing\nis a tenuous business; its dependence on the tools of the trade is great, and,\nbesides, as history demonstrates, the tools of the authorities are also\nsomething to be taken into account. The director is not forbidden to think,\nmake up, envision his future productions, but no production will come into\nbeing without trying things out this way and that, without talking things over,\nwithout the drive of the collective will. <\/p>\n\n\n\n

In Le Dernier M\u00e9tro<\/em>, the hero, while hiding\nfrom the Nazis in the cellars of his own theatre, was still able to control the\nstaging of the shows. He was cut off from the world, but not from his art.\nSerebrennikov is allowed to take walks in the vicinity of his residence, but the\nplace where his heart lies\u2014the theatre\u2014is forbidden territory for him.\nKonstantin Stanislavsky once, in conversation with Solomon Mikhoels, remarked,\n\u201cTo fly, the bird first and foremost needs to breathe freely. . . .\u201d\nSerebrennikov is denied access to the air-supply. Yet, other theatre people are\nnot all that free-breathing either.<\/p>\n\n\n\n

\"\"
One of the many court hearings in the case of Serebrennikov. The public in the corridor of the court. Photo: Emiliia Dementsova<\/figcaption><\/figure><\/div>\n\n\n\n

During\nhis confinement under house arrest, Serebrennikov has managed to stage several\nproductions (in Moscow and at Opernhaus Z\u00fcrich) that have earned the applause\nof both Russian and European audiences. He has completed the feature film he\nwas making, he has earned several awards, all that while the main award\u2014his\nfreedom\u2014taken away from him. Once again, he has shown, through personal\nexample, that thinking is uncontrollable, even if attempts to break the thinker\nhimself may be successful.<\/p>\n\n\n\n

In\nthe courtroom, Kirill Serebrennikov says that the worst punishment for him is\nbeing banned from his work, and the law, repeatedly prolonging his house\narrest, hurts him in this most vulnerable spot again and again. Yet,\nstate-of-the-art technology allowed him to continue directing even under conditions\nof house arrest. This exemplary case of remote directing from behind stone\nwalls came at a considerable cost for the director, and cost Russia dearly in\nterms of her image and reputation. <\/p>\n\n\n\n

Enjoying\nhis freedom, Serebrennikov could have done much; he could have produced work\nthat would have made our country famous on international stages. Lev Dodin\ntalked about the artist\u2019s experience of suffering, and the collective suffering\nthat occurs around his person. Unfortunately, in our country, suffering seems\nto be an inevitable stage in the biography of any gifted person. If, in the future,\nthere are more exceptions to this \u201crule,\u201d it will be most welcome.<\/p>\n\n\n\n

\"\"
Judicial escorts Serebrennikov. All shades of black. Photo: Emiliia Dementsova<\/figcaption><\/figure><\/div>\n\n\n\n

2. Let the seeds of censorship, both in low and high places, be destroyed. Let translators translate what was actually said, not what they were told to translate. Let the media refrain from retouching cultural news, ranking theatres according to some imaginary loyalty scale<\/strong><\/p>\n\n\n\n

The\ntheatre does influence the public, that\u2019s indisputable, but the reverse is also\ntrue: in recent years, the public in Russia has been wielding considerable\ninfluence over the theatre. And when I say \u201cinfluence,\u201d I don\u2019t mean the effect\nthat the audience\u2019s bursting into applause or angry shouts may have upon the development\nof any performance, or the fact that shows that fail to win the public close\nand get excluded from theatres’ repertoire. Critical reviews don\u2019t have as\nstrong a sway over theatre life as letters from audience members: letters\naddressed to the office of the Public Prosecutor, or other governmental bodies\nof similar calibre, in which the writers demand that their addressees have this\nor that show shut down, and the author punished. People who work in theatre now\nknow the articles of the Russian Federation Criminal Code that cover offending religious\nfeelings inside out\u2014the offence that is mostly alleged by the vigilant public\nagainst those directors who are alert to social controversies and touch upon\nsocially raw spots. The \u201cFree Word\u201d association produced a report entitled \u201cRussia,\n2016-2017.\u201d <\/p>\n\n\n\n

Violations\nof and government imposed restrictions upon the freedom of speech, freedom of\npress, freedom of expression, with one of the chapters devoted to censorship in\ntheatre: the \u201cculture managing\u201d governmental bodies acting dictatorially,\ndepriving \u201charmful\u201d art of state subsidy, censorship introduced due to\n\u201cfeelings of the believers being offended.\u201d Those public organizations that\nclaim to be defending the rights of members of the audience whose religious\nfeelings can be offended by art bombard authorities with complaints on a\nregular basis, simultaneously trying to earn notoriety by staging public\nactions, often mischievous and sometimes sinister, aimed at ruining this show\nor that. I won\u2019t name these organizations, lest these hoodlums get publicity in\na respectable international periodical. But, I would like to point out that,\nwith Konstantin Bogomolov\u2019s production An\nIdeal Husband<\/em> allegedly offending religious feelings, the attacks on this\ntheatrical production didn\u2019t stop even after Chekhov Moscow Art Theatre (MKhT)\nhad won its case in court.<\/p>\n\n\n\n

\"\"
Near Moscow Art Theatre. Single picket against the production An Ideal Husband. Phrase on poster: \u201cLet us stop blasphemous \u2018arts.\u2019 Make sodomy a crime again!\u201d Photo: Konstantin Bogomolov<\/figcaption><\/figure><\/div>\n\n\n\n

The\nincident at the presentation ceremony of the Europe Theatre Prize, when\ntranslators, whether intentionally or by accident, omitted to pronounce\nSerebrennikov\u2019s name, also looks symptomatic. Sadly, in a society deficient in\nfreedom, the supposition that the interpreters had been previously instructed\nto do as they did is more believable than allowance for an unfortunate failure\ndue to insufficient professional training All in all, the Russian theatrical\ncommunity, as well as the general public, are rather fed up with being under\nconstant informational shielding\u2014when federal TV stations scratch out\neverything negative from the cultural (and not only cultural) news. Not to\nupset people, presumably. This shielding-from-everything-unpleasant attitude is\nunderstandable, but one cannot but feel like resisting it tooth and nail.\nNowadays, it is easier to learn real news about the real life of cultural\ninstitutions in the social networks, where people who care report from the\ncourtrooms, or inform the public about disgraceful incidents or cases of\nmalversation or malpractice in theatres. In other words, networks speak up\nabout things that average theatre-goers, who are not involved in some art\ncommunity, are totally unaware of.<\/p>\n\n\n\n

3. Let audiences not fall behind our ever innovative theatre<\/strong><\/p>\n\n\n\n

The\nYear of the Theatre is also the Year of the Audience. The spectator is a\nco-creator of the performance, just like the actor. Contemporary theatre won\u2019t\nstand for its audience to stay unconcerned and apathetic, but will demand from\nit the maximum degree of involvement. Unlike the actors, the spectator is \u201ca\nplayer who plays many roles,\u201d and thus has to know how to tune to each new show,\nhow to be sensitive, daring and prepared for the discoveries that are to be\nmade. I teach a class at the Moscow School of Journalism, titled \u201cProfession:\nTheatregoer,\u201d and its objective is to teach theatregoers to understand and\naccept theatrical experiments and forms that are most diverse. The theatre can\ndo without the director, the playwright, the designer, and even the actors, but\nnot without the public; that very public which has so often been reproached for\nlack of comprehension, narrow-mindedness (the stalls and the gallery alike),\nignorance and shallowness. Yet, without it the theatre can\u2019t exist. <\/p>\n\n\n\n

The\ntheatre is anxious for such a spectator, who will come not to doze off in their\nseat, but prepared for the work of joint exploration, for labor done with one\u2019s\nheart and with one\u2019s mind; open to new things, unafraid of learning and\naccepting truths about themselves, which are not always pleasant. Contemporary\ntheatre, any real theatre for that matter, resists human selfishness, making\npeople listen to the opinion of another, look from a new point of view at the\nfamiliar, at things that had been hammered into their heads. Understanding\ntheatre as strictly entertainment, a leisure facility, a medicine for\nmelancholy and cure for idleness, as an appetizer before dining at a restaurant\nor a hotel\u2014let this prejudiced, one-sided and totally ungrounded attitude be\novercome. Let one kind of theatre refrain from attempts to devour another kind,\nor drive it back into the basements.<\/p>\n\n\n\n

4. Let there be money, if not lots of money, then at least sufficient money<\/strong><\/p>\n\n\n\n

Salaries\nin theatre are indecently small. There are theatres in the country where people\nearn twelve thousand (about $178) a month. And payments of salaries are often\ndelayed. This problem has been a burning one for too long, in many regions,\nespecially remote ones. Insufficient funding and lack of money lead to\nreducing, out of necessity, the number of performances. <\/p>\n\n\n\n

In\nmany regions, theatres cannot go on tour, because local authorities do not\nparticipate in theatrical activities in any way\u2014that is to mean, they do not\nallot theatres any money from the local budgets. That is why young talented\nartists are afraid to seek employment in theatre. Theatre buildings are also in\nsad condition, and in crying need of repairs and restoring. At the same time,\nregular audits of budget funds spending have become a bogeyman for theatres\nthat scares them stiff. Nowadays, nobody is certain which is the harder job, make\na theatre production or do the financial statement about the budget fund spent\non it?<\/p>\n\n\n\n

5. Let there be more theatrical awards and initiatives\u2014not locked in desperate struggle with each other, but collaborating for the common good of the theatrical industry<\/strong><\/p>\n\n\n\n

This\nyear, the Ministry of Culture publicly announced that it withdraws its support\nof the Golden Mask award. The Ministry has, for quite a time, been voicing its\ndispleasure at this award, given by the Union of Theatrical Workers\u2014complaining\ndiscontentedly that the awards invariably go to radical artists (including\nKirill Serebrennikov) and that traditional, conservative productions are\nignored. Which, of course, is not true\u2014the lists of winners for recent years\nprove it beyond doubt. Now, the Ministry of Culture will have a separate\ntheatrical award of its own.<\/p>\n\n\n\n

<\/a>Whether\nthis new award is to become a landmark, indicating the coming of a clearly\nmarked dividing line that separates pleasing and comfortable theatre from\ntheatre that takes its audience out of its comfort zone remains an open\nquestion. But many are apprehensive. <\/p>\n\n\n\n

As\nfor joyful events, there was the presentation of the Yury Lyubimov Public\nAward, and the Yury Lyubimov International Theatrical Award. It is organized\nwith great care, reverently and responsibly, with the widow and collaborator of\nthe master, Katalin Lyubimova, handling everything on which Lyubimov\u2019s personality\nhas left its mark, never allowing any retouching or damaging of his memory. It\nis a pity that she has to work practically alone. The Fund doesn\u2019t have any\npermanent sponsor or patron so far, and the efforts of the volunteers are not\nenough. I hope the situation will change. The Foundation has a lot of good and\nuseful ideas, and it must survive.<\/p>\n\n\n\n

\"\"
Program material from the Yury Lyubimov award ceremony. Photo: Emiliia Dementsova<\/figcaption><\/figure><\/div>\n\n\n\n

As\nfor the International Theatrical Award, which was established by the Lyubimov\nfoundation jointly with the International Institute of Theatre, for\nexplorations of new theatrical aesthetics, it was given to theatre director\nAnatoliy Vasiliev, who, in his address, said that his life seems to be divided\ninto three episodes: \u201cBefore Liubimov,\u201d \u201cTogether with Liubimov,\u201d and \u201cAfter\nMoscow.\u201d <\/p>\n\n\n\n

Musing\nover his own experiences as an exile and the difficulties that clouded both his\nown and Lyubimov\u2019s theatrical careers, Vasiliev remembered Kirill\nSerebrennikov, whose thorny biography was enriched by the authorities and now\nfeatures prosecution by the law. The whole ceremony was dominated by a large\nportrait of the master that loomed on the stage facing the public. The eyes of\nthe portrait looked alive; they were eloquent, maybe even somewhat reproachful,\nyet loving all the same. \u201cTo believe firmly in your own way, despite all the\nhardships\u201d was his will; the will of one who never turned off his way, as\ndirector and man. <\/p>\n\n\n\n

\"\"
Anatoly Vasiliev won the International Theatrical Award, established by the Lyubimov foundation jointly with the International Institute of Theatre. Photo: Public domain (web<\/a>) <\/figcaption><\/figure><\/div>\n\n\n\n

6. Let cultural news return to the front pages, let theatrical reviews not be reduced to tweets and let them be written not by journalistic Jacks of all trades and masters of none, who write indiscriminately about accidents, fashion, sport and \u2026 theatre<\/strong><\/p>\n\n\n\n

Opportunities\nto publish a text about theatre or culture are, unfortunately, becoming scarcer.\nIn most periodicals, the sections on culture were \u201coptimized\u201d and turned into\nlife-style columns. There is practically no space reserved for large, detailed\nreviews. Against such a background, blogs and personal sites seem a blast of\nthe sweet air of freedom, and some theatre bloggers have actually started to\ngain popularity. They create a rich palette of opinions, but, unfortunately,\nbloggers do not always write responsibly and often lack professional expertise.\nThat has caused a rift between bloggers and professional critics, which often\nmanifests in sticking to traditional, or, on the contrary, novel information\ndelivery tools when reaching for their audiences. Another example: only a\nforeign periodical has found it possible to publish this very text.\nRussian-speaking media couldn\u2019t find room for it.<\/p>\n\n\n\n

\"\"
Performance from the Yury Lyubimov award ceremony. Photo: Emiliia Dementsova<\/figcaption><\/figure><\/div>\n\n\n\n

7. Let tours and festival movements continue to prevail over the hermetically sealed conditions of Russian theatre<\/strong><\/p>\n\n\n\n

Theatre\nalways existed thanks to the possibilities exchange offers; thanks to mobility.\nSince the days of its infancy, it was open to the turnover of practices, ideas,\nconsiderations, activities. It is a platform for communication, for exchanging\nideas, for partnership. The task of contemporary theatre is to create a\ncommunication environment where people, things, events can create connections.\nIts main intention is to establish connections between people of different\ncultures, mentalities, backgrounds, and so on; to find the “common\ndenominator” in perception, to create a “shared experience,\u201d the\ngeneral discourse\u2014which is the main question in today’s world, because\neverything including philosophy, politics, economics, and cultural studies,\nturns on communication.<\/p>\n\n\n\n

If\nwe turn to history, we can recall the role that the Bolshoi played by touring\nin the U.S.A. during the Cold War. Today, touring activities go on on a smaller\nscale, though this year Vakhtangov theatre\u2019s tour made quite an impression in\nthe States. Festival movements are on the rise. International theatre festivals\nare ideal not only for sharing experiences and best practices, but also for\nvoicing this or that message a participating country intends to\ncommunicate.  For this purpose, the\nfestival mechanism is much more efficient than that of traditional touring,\nsince, at a festival, any show will draw not just the local public, but\naudiences comprising people from all over the world, representatives of the\nparticipating countries, members of diplomatic delegations, and so on.<\/p>\n\n\n\n

8. Let theatres outside Moscow or St. Petersburg never feel forgotten and abandoned<\/strong><\/p>\n\n\n\n

Geographically\nrelevant remoteness breeds segregation, even on the level of information\nsharing. Theatres in the more remote regions and their audiences often find\nthemselves in isolation and go on as best they can, unaware of the tendencies,\nnews and vectors of development in contemporary world theatre. And, of course,\nthey get substantially less funding.<\/p>\n\n\n\n

9. Let theatre for the youngest theatre-goers get as much attention as possible<\/strong><\/p>\n\n\n\n

Hopefully,\nthe Presidential programme that aims at supporting theatre for children will\nachieve full-scale implementation: theatre has to recruit its public at early\nage, and the young have to be introduced to the theatrical arts.<\/p>\n\n\n\n

10. Let new technologies not be rejected indiscriminatingly. They are not the enemy of the old theatre<\/strong><\/p>\n\n\n\n

This\nis a complex wish, that comprises: exploring and exploiting virtual space as a\nnew creative medium and an environment where the audiences are hanging about; blending\n(interaction) of virtual and real genres and technologies; developing visual\nculture; improving theatrical culture by means of information and communication\ntechnologies; upgrading such creative processes as directing and scenography by\napplying new technologies relevant for staging; using means such as computer\ngenerated simulation and multimedia programming for shaping the general image\nof the show; upgrading the training process for the staging professions.<\/p>\n\n\n\n

11. Let theatre not be turned into a standardized manufacturing department<\/strong><\/p>\n\n\n\n

The\nMinistry of Culture has published two executive orders on their site: #602 \u201cApproving\ngeneric industry-specific worktime standards for jobs done at performing arts\norganizations,\u201d and #603 \u201cApproving recommended guidelines for forming the\nprescribed strength of the personnel at performing arts organizations, with\nconsideration for special features of the industry.\u201d Industrial standards were\nworked out for such jobs as making the design and scenography for a theatre\npiece (or some other production or performance), where every detail of the\nart-creating process is described minutely, and the time period for the\nabove-mentioned art-creating activity is set.<\/p>\n\n\n\n

For\nexample, making a table for a setting is to take 22.8 hours, and doing 1 square\nmetre of landscape painting to make a backdrop representing a winter landscape\nof several planes 1.2 hours.<\/p>\n\n\n\n

12. The goals that are set for the coming Year of the Theatre are noble and lofty; to familiarize a wide range of social strata, including the young and the adolescent, with real, true art; to enhance the number of tours, and the number of guest performances at regional theatres<\/strong><\/p>\n\n\n\n

Allow\nyoung actors to show what they can do; to make theatre a part of life of\neveryone. . . . The enumeration can go on and on. And these are only titles\nthat describe real problems in a sketchy way, just brief drafts of solutions. Yet,\nif they come true, the year 2019 will become a milestone in the history of\ntheatre. According to recent official data, the number of guest performances\nhas shown 20% growth in the last couple of years. <\/p>\n\n\n\n

Vladimir\nMedinsky, the Minister of Culture, has said that, in 2015, the number of guest\nperformances at federal level nearly reached the one thousand mark. The\nfinancial situation of the country is not easy, yet people continue to go to\nthe theatre. In the last three years, the sum earned from ticket sales has\ngrown by 70%. Such figures look very inspiring for the theatre-workers\u2014we are\nnot done for, after all.<\/p>\n\n\n\n

\"\"
The official emblem: https:\/\/2019.culture.ru. No one knows why, at the back of the emblem of the year theater in Russia, is Op\u00e9ra de Paris<\/figcaption><\/figure><\/div>\n\n\n\n

Well,\nin a year, we shall see what wishes and plans have come true, and we shall also\nbe able to divine\u2014like when playing a Russian patience\u2014what there was, what\nthere shall be, what will have come to soothe the heart. . . . Emotionally torn\nbetween Sonia\u2019s \u201cI do believe it, I do . . . ,\u201d from her final monologue in Uncle Vanya<\/em>, and the final line from\nBulgakov\u2019s The Days of the Turbins<\/em>, \u201cWhat\u2019s\na prologue for one man is an epilogue for another one,\u201d I still will raise my\nglass to make a toast to Russian theatre, wishing it may never become a theatre\nof military operations. <\/a><\/p>\n\n\n\n

\n\n\n\n
\"\"<\/div>\n\n\n\n

*<\/a>Emiliia Dementsova<\/strong> is theatre critic, creative editor, lecturer and researcher. She is a Ph.D. candidate at the MSU. She is a columnist for\u00a0leading Russian publications and European Stages<\/em>,\u00a0The Hollywood Reporter<\/em>,\u00a0The Conflict Zones<\/em>,\u00a0The Theatre Times<\/em>, among others; scholar of the Oxford Russia Fund and Theatre Union of Russia and Ministry of Culture; grantee and participant of the project \u201cWith and From One Another: Exchange of Cultural Actors\u201d (Ludwig Maximilian University of Munich). She has received the International Press Club award and the Russian national literary award, the Golden Feather.<\/p>\n\n\n\n

Copyright \u00a9<\/strong> 2018 Emiliia Dementsova
Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n

\"\"\/<\/a><\/figure><\/div>\n\n\n\n

This work is licensed under the
Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"

Emiliia Dementsova* During the New Year countdown, looking back on the old year, we normally indulge in reverie about the year to come. Trying to forget all the bad things, to leave all the failures behind, hoping the coming year<\/p>\n","protected":false},"author":1,"featured_media":1008,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[7],"tags":[58],"class_list":["post-999","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-national-reports","tag-by-emiliia-dementsova","","tg-column-two"],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pam472-g7","jetpack-related-posts":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2018\/12\/Lyubimov2.jpg?fit=480%2C269&ssl=1","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts\/999","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/comments?post=999"}],"version-history":[{"count":10,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts\/999\/revisions"}],"predecessor-version":[{"id":1632,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts\/999\/revisions\/1632"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/media\/1008"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/media?parent=999"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/categories?post=999"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/tags?post=999"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}