“AUTORITEATER JA KOLLEKTIIVNE AUTORLUS NING NENDEST LÄHTUV ENDA PRAKTILISE LOOMINGU ANALÜÜS EHK AUTORITEATER JA KOLLEKTIIVNE LOOMEMEETOD PRAKTIKAS” (juhendaja prof. Kalju Komissarov).
LÜHIÜLEVAADE: Käesoleva kirjaliku lõputöö eesmärk on uurida Eestis järjest enam aktuaalsemaks muutuvat nähtust „Autoriteater“. Leides vastuseid küsimustele nagu „Kes seda viljelevad?“ „Mis asi see üldse on,“ „Kas Autoriteater on üldse päriselt olemas?“ „ Millised on Autoriteatri tegemise telgitagused?“ proovib töö autor avada Autoriteatri olemust. Vastuseid nendele ja veel mitmele küsimusele proovib autor leida läbi asjaosaliste arvamuste kui ka läbi enda praktilise kogemuse.
Teine pool tööst uurib autoriteatri töövormi „kollektiivne loomemeetod“ . Ehk siis seda osa autoriteatrist, kus autoriks on kogu trupp. Selle loomeetodi olemuse avamiseks uurib autor nii teooriat kui ka enda praktilist kogemust lavastajana.
Marika Palm
lõputöö autor
TÜ Viljandi Kultuuriakadeemia
LÄBITUD ÕPPEKAVA: teatrikunsti õppekava.
SUMMARY: This research project is an expansion on an assignment from autumn 2012, ‘Author’s theatre and applying its features to self-analyses: have I practiced author’s theatre?’
In this research project I aim to answer two questions that I raise in the introduction: What constitutes author’s theatre and what are the definitive features of collaborative creation?
In chapter one I explore the essence of author’s theatre and state its defining features. In order to do this I have used literary sources that deal with this topic. As a result of my research I have pinpointed the defining features of author’s theatre and causes for its emerging in Estonian theatre scene.
The first feature is that a theatre production starts from a dream or idea instead of an already finished play. The second feature is that the commitment between an author (or authors) and the theatre production process starts from an idea and lasts until the premiere. The third feature is the lack of intermediate links in the production process– which means that people in the process perform a variety of roles. The forth feature is the ability to change, to turn things up side down in the production process or text creation and the ability to react quickly to things happening in society. The fifth feature is the freedom and openness towards people who are not professional theatre practitioners and openness towards experiments.
Although the five features I have identified define author’s theatre, they nevertheless remain generalizations. By saying that they are generalizations I mean that they are universal in author’s theatre as it combines all these modes of creation. While working towards this project I realised that in order to apply close analysis to author’s theatre, one must approach each of its defining features individually, because each mode of creation has its own features that do not overlap with the other modes.
In chapter two I analyse Urmas Vadi’s ‘Minu isa 20 aastat hiljem’, that he both wrote and directed, as an example of author’s theatre with the benefit of having participated in this production as an actress myself.
In chapter three I answer my own question: what constitutes one of the work processes in author’s theatre, the ‘collaborative creation.’ As a result of my research I define the essence of collaborative creation. In this chapter I also explore how collaborative creation emerged in Estonian theatre and how it is used; also how it emerged in other countries. I outline three subdivisions of collaborative creation that help us understand and analyse productions that have been created using this mode of production.
Collaborative creation can be divided into: 1. Collective collaboration 2. Guided Collaboration 3. Specialized collaboration.
In chapter four I analyse productions that I myself have directed, ‘Väike Kuningas’ and ‘Unistatud’, as examples of collaborative creation and its different modes in practice.
As a conclusion to this research project I can say that author’s theatre and its different modes of production are extremely interesting. It is possible to argue over whether author’s theatre as a term is accurate or even necessary, but in my view the most important thing is that author’s theatre enriches Estonian theatre scene.
Collaborative mode of production will in the future bring with it changes for both director and actor. It benefits creativity and new kind of actors. I find that this mode of production helps both actors and directors to address topics that affect them both personally and professionally. Because of this there can be productions capable of changing the world.