https://doi.org/10.31261/pr.18031
Political gesture in the Russian theatre of the 21st century was essentially a marginal phenomenon. A key role in shaping the political and social agenda was played by the legendary independent Russian Theatre.doc, focusing on current events in political and social life, addressing painful, traumatic issues and topics considered taboo; and the Lubimovka Festival, an independent project aimed at promoting young playwrights.
In July 2022, the Festival officially reiterated its anti-war stance with the call for texts entitled Dramaturgy Against War. At the same time, it became clear that the safe organization of the Festival on Russian territory was not possible. Thus, the project Echo of Lubimovka was born — an émigré touring festival that became an unprecedented phenomenon in the history of theatre, enabling the public presentation of oppositional anti-war texts. The Echo of Lubimovka allowed Russian-speaking artists in exile in various corners of the world to openly express their anti-war stance, to capture the voice of the present beyond the imposed propaganda narrative.
The aim of this article is to analyze dramaturgical strategies employed in the plays presented as part of the 2022−2023 Echo of Lubimovka Festival (including The War Has Not Yet Begun by Mikhail Dornenkov [2015], Crime by Asia Voloshina [2022], Vanya Is Alive by Natalia Lizorkina [2023], Discreditation by Anastasia Patlay and Nana Grinstein [2023]). These works are examined as tools for constructing the anti-war discourse and attempting to confront the tragedy of war.
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No. 1 (189) (2025)
Published: 2025-03-31
10.31261/pr

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.