ISSN 2411-0795
ISSN 2411-0795
Keywords: Russian theater school, tradition, continuity, Yaroslavl theater school, F. E. Shishigin, theater college, Yaroslavl Secondary Theater School, Firs Shishigin Yaroslavl State Theater Institute, artistic and educational tradition, history of theater education, theater teacher, theater school training
Available in the on-line version with: 30.06.2025
Azeeva I.V. The Creative Role of Tradition in the Formation and Development of the Yaroslavl Theater School. // Theory and History of Art. 2025. N 2, p.145-158 https://doi.org/10.24412/2411-0795-2025-2-145-158.
The article considers tradition as a fundamental factor in the formation and development of the national theater school. The history of theater education is outlined in order to show the theater school as one of the brightest phenomena of the national cultural heritage. This allowed the author to justifiably state the insufficient study of the theater school in the aspect of indivisibility of specific creative methodology, aesthetic and moral values. The significance of the theater school in preserving a certain cultural tradition of theatrical thinking and creativity is considered. The most important principle of the acting school formulated by K. S. Stanislavsky is emphasized. Namely, it is the transfer of the living tradition of the actor's art from the teacher to the student during a pedagogical workshop. The history of the Russian theater school uncovers a unique way of theater schools emerging and developing in a number of regions in Russian provinces. As an important prerequisite for the birth of professional theater schools in the province, the role of theater technical schools is considered. In order to analyse the role of tradition in the formation and development of provincial theatrical school, the author turns to the history and creative methodology of the Yaroslavl theatrical school, one of the leaders in Russian theatrical education. The key role F. E. Shishigin, the founder director and a teacher of the theater, played in the formation of the school is outlined. Having appealed to the Yaroslavl theater school's experience in preserving traditions, the author highlights the necessity of a careful attitude to the tradition and the importance of searching for modern approaches to work with it in the acting school. The study of the historical and topical aspects of the traditional foundations of the Yaroslavl theater school contributes to a deeper understanding of the phenomenon of the Russian theater school.