Theatrical heterotopia in open-air productions (based on the example of performances in the historical scenery of the Astrakhan Kremlin)

The study aims to analyze the influence of “dark matter” (in Andrew Sofer’s interpretation) on the heterotopia inherent in open-air performances and identify the properties of the “other space” actualized and the characteristics of the theatrical performance itself. As examples, the original material of two open-air productions was used: performances of operas by Nikolai Rimsky-Korsakov and Mikhail Glinka in natural settings on Cathedral Square of the Astrakhan Kremlin. The results of research by Russian and foreign philosophers, cultural scientists and art historians were also used. The methodology was based on the concept of “heterotopic spaces” by Michel Foucault, as well as Sofer’s ideas related to understanding the invisible dimension of theater (the so-called “dark matter”). Taking into account the factor of using new technologies to create “another space”, the format of open-air productions as a heterotopia is analyzed. The characteristics of theatrical heterotopia and the peculiarities of the viewer’s perception of the space formed in the process of theatrical action were studied. The properties of “heteroclitic places” (in Foucault’s interpretation), which are important when creating a production, and the distinctive characteristics of “dark matter” (in accordance with Sofer’s concept) were considered. The set of characteristics that the Astrakhan Kremlin has as a space for theatrical production was identified. A number of scenes from the mentioned two open-air productions were studied from the perspective of the analysis of embodied images, original scenery, lighting and sound effects, and stage movement. It was established that, in the conditions of heterotopia, the influence of “dark matter” allows directors to move even further away from the usual system of symbols characteristic of theatrical conventions, to go beyond the boundaries of theatrical realism, thereby complementing the concept of theatrical heterotopia, perceived as a real portal to the transcendental. As a result, the following properties of theatrical heterotopia were revealed: (1) elements of “dark matter” are actualized only at the moment of direct perception of the performance by the public; (2) at certain moments of theatrical action, “subspaces” appear that perform temporary functions; (3) the empty stage space under the influence of “dark matter” is perceived as metaphysical; (4) the multi-component nature of stage action naturally allows for the creation of multiple spaces on stage spaces; (5) in the staging space, spaces with different combining properties can be created (for example, closed, permeable, etc.).