MOSCOW, 21 March (BelTA - TV BRICS) - The World Day of Theatre for
Children and Young People is celebrated on 20 March each year. This date
serves as a reminder that the love of art begins in childhood. A week
later, on 27 March, stage lovers from all over the planet will celebrate
World Theatre Day, uniting professionals and spectators in the desire
to preserve and enhance the traditions of this eternal art.
How is theatre developing in the BRICS countries? Why is children's and youth theatre art becoming more and more relevant? These and other questions were answered by experts from Brazil, India, Russia, and South Africa.
Theatre begins with childhood
A press conference was held in Moscow on 20 March on the theme: "Dramaturgy for children and teenagers: in search of a new play for children's and youth theatre". Representatives of the professional community and experts in the field of children's literature discussed the importance of creating new plays that can combine deep meaning and cultural values with a language that is understandable and close to young audiences.
"Children should be taught to the theatre from a young age, because, firstly, this is our future audience, and secondly, the theatre gives the audience a unique, incomparable effect, which will not be replaced by cinema or any online activities," the Head of the Theatres Department of the Moscow Department of Culture Aleksander Fokin said at the meeting.
According to him, it is necessary to attract teenagers to theatres, as this audience is sensitive to falsity and does not tolerate edification, which means that new approaches to drama are needed.
Aleksander Fedorov, Merited Artist of Russia, Director, Founder and Artistic Director of the "Children's Musical Theatre of Young Actors", believes that theatre for children is not just entertainment, but a powerful means of education and shaping the worldview. That is why, as children's writer and fairy-tale therapist Evgenia Bakhurova noted, the first step on the way to theatre is the family.
The focus of the meeting was the "Kulturny kot/d Rossii" project – an initiative aimed at finding new themes and language to talk to modern children and teenagers through theatre.
Trends in the development of theatre art in the BRICS countries
In the BRICS countries, theatre is not only actively developing, but is also becoming an important element of cultural exchange. Venkatesh Kumar, an Indian Film Director and expert in film production, in an exclusive commentary for TV BRICS stressed that the cities of Kolkata and Mumbai have become key theatre centres in India.
He believes that one of the major challenges in a rapidly developing world is to preserve traditional arts, including theatre. The expert suggested the idea of an annual theatre summit of the BRICS countries, which, according to him, could be an important platform for artists to share professional experience.
In turn, Brazilian actor, writer, theatre and film director Bemvindo Pereira de Sequeira told the international media network that contemporary theatre in Brazil is a multifaceted phenomenon that combines traditional elitist stage and alternative folk art. As the expert specified, the main core of theatre is concentrated in the country's largest metropolises – Rio de Janeiro and Sao Paulo.
"Tourism, large populations and economic power make megacities the main theatrical centres of each country," he explained.
According to the director, Brazil's major cities are dominated by chamber productions – mono-performances and small shows with no more than four actors. Classical productions with a large number of actors are increasingly rare, and the only exception are large-scale Broadway musicals. However, Brazil's theatre life is not limited to this: the country has a so-called "peripheral" independent theatre, where the boldest experiments are born.
South African actor and artistic director of Joburg City Theatres, James Ngcobo, told TV BRICS that at an international forum in St. Petersburg last year, he and his colleagues discussed the possibility of creating a common platform to work together in the future and share experiences.
"We are quite delighted to see the beginnings of the artistic collaborations and biliteral efforts amongst BRICS nations. This now becomes the new arena for stroytelling, exchanging of productions and getting artists from different countries to co-create stories," Ngcobo said.
How is theatre developing in the BRICS countries? Why is children's and youth theatre art becoming more and more relevant? These and other questions were answered by experts from Brazil, India, Russia, and South Africa.
Theatre begins with childhood
A press conference was held in Moscow on 20 March on the theme: "Dramaturgy for children and teenagers: in search of a new play for children's and youth theatre". Representatives of the professional community and experts in the field of children's literature discussed the importance of creating new plays that can combine deep meaning and cultural values with a language that is understandable and close to young audiences.
"Children should be taught to the theatre from a young age, because, firstly, this is our future audience, and secondly, the theatre gives the audience a unique, incomparable effect, which will not be replaced by cinema or any online activities," the Head of the Theatres Department of the Moscow Department of Culture Aleksander Fokin said at the meeting.
According to him, it is necessary to attract teenagers to theatres, as this audience is sensitive to falsity and does not tolerate edification, which means that new approaches to drama are needed.
Aleksander Fedorov, Merited Artist of Russia, Director, Founder and Artistic Director of the "Children's Musical Theatre of Young Actors", believes that theatre for children is not just entertainment, but a powerful means of education and shaping the worldview. That is why, as children's writer and fairy-tale therapist Evgenia Bakhurova noted, the first step on the way to theatre is the family.
The focus of the meeting was the "Kulturny kot/d Rossii" project – an initiative aimed at finding new themes and language to talk to modern children and teenagers through theatre.
Trends in the development of theatre art in the BRICS countries
In the BRICS countries, theatre is not only actively developing, but is also becoming an important element of cultural exchange. Venkatesh Kumar, an Indian Film Director and expert in film production, in an exclusive commentary for TV BRICS stressed that the cities of Kolkata and Mumbai have become key theatre centres in India.
He believes that one of the major challenges in a rapidly developing world is to preserve traditional arts, including theatre. The expert suggested the idea of an annual theatre summit of the BRICS countries, which, according to him, could be an important platform for artists to share professional experience.
In turn, Brazilian actor, writer, theatre and film director Bemvindo Pereira de Sequeira told the international media network that contemporary theatre in Brazil is a multifaceted phenomenon that combines traditional elitist stage and alternative folk art. As the expert specified, the main core of theatre is concentrated in the country's largest metropolises – Rio de Janeiro and Sao Paulo.
"Tourism, large populations and economic power make megacities the main theatrical centres of each country," he explained.
According to the director, Brazil's major cities are dominated by chamber productions – mono-performances and small shows with no more than four actors. Classical productions with a large number of actors are increasingly rare, and the only exception are large-scale Broadway musicals. However, Brazil's theatre life is not limited to this: the country has a so-called "peripheral" independent theatre, where the boldest experiments are born.
South African actor and artistic director of Joburg City Theatres, James Ngcobo, told TV BRICS that at an international forum in St. Petersburg last year, he and his colleagues discussed the possibility of creating a common platform to work together in the future and share experiences.
"We are quite delighted to see the beginnings of the artistic collaborations and biliteral efforts amongst BRICS nations. This now becomes the new arena for stroytelling, exchanging of productions and getting artists from different countries to co-create stories," Ngcobo said.
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