Reading as a Genre in Modern Theater Process

The article examines the history and characteristics of reading (“chitka”) as an independent genre of theatrical process that arose in Russia in the 1990s as a specific form of representation of the new drama dramatic text. Having emerged as a “poor” version of the performance, the reading genre acquired independence and value in a new meaning, affirming the literary-centric nature of the theater in a new capacity. The article examines the history of the reading genre and characterizes the reasons for the preservation of this genre: these reasons are not only material in nature, but also social, as well as epistemological (the depth of the viewer’s immersion in the text). The most important part of the reading, the discussion of what is read with the viewer, gives the readings the character of an action to create a community. The article also identifies genre differences in readings: intimacy of space, frequent use of non-theatrical spaces, free seating, refusal of external decorative means (music, plastic arts, costumes, scenery), defamiliarization of the actor’s existence, the discussion of what was heard with the audience. The perception of the reading is associated with the activation of the viewer’s imagination, his co-authorship in directing the performance, with obtaining not only an impression, but also a hermeneutical experience. Thus, in the period of post-dramatic theater, reading becomes a form of return to the literary basis of the theater. At the end of the article, the author examines the experience of creating an reading association for the modern drama “Aurora reads” in a Russian city Krasnodar. As a result, the article concludes that reading in the modern theatrical process not only remains an independent genre, but also gives rise to new theatrical traditions. In the regional aspect, readings are very important as a form of creating a community interested in dialogue about modern drama.