Dromena, theatron albo „coś somatycznego, zmysłowego i fizjologicznego”. Teatr jako przedmiot refleksji i badań w rosyjskiej/radzieckiej nauce w latach dwudziestych XX wieku
Dromena, Theatron, or ‘something somatic, sensual, and physiological’. Theatre as a subject of reflection and research in Russian/Soviet scholarship in the 1920s.

Summary/Abstract: The early 1920s witnessed the establishment of theatre studies as an independent academic discipline. A novel approach to theatre history was developed under the influence of German research, primarily that of Max Herrmann. Meanwhile, theatre theory has benefited significantly from the research conducted by Russian Formalists. The article evokes the role of Alexei Gvozdev as an intermediary between German and Russian scholarship, as well as his role in the establishment of a school of theatre researchers (termed the ‘Gvozdev school’) operating in Petrograd/Leningrad. A more diverse approach to theatre research, incorporating psychology, was represented by researchers associated with the Moscow State Academy of Artistic Sciences (GAKhN). Between the Leningrad and Moscow circles is positioned the figure of Vsevolod Vsevolodsky-Gerngross, author of the pioneering textbook History of the Russian Theatre (1929). Vsevolodsky defined theatre as the art of action, thereby broadening the boundaries of a concept reserved for stage art only. He included examples of carnival performances, religious rituals, and Masonic ceremonies in his textbook. He drew on ethnographic materials relating not only to the past, but also to contemporary rural rituals (from the 1920s). Vsevolodsky-Gerngross's forgotten textbook anticipates the performative turn in theatre studies at the turn of the 20th and 21st centuries.

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