«Доктор Фауст» К. Марло на театральной сцене ХХI века

Faustus” by C. Marlowe on the theatrical stage in the 21st century. The author presents a critical analysis of the main approaches to staging the play proposed by contemporary directors in Russia and abroad. It is noted that there is a sign of a gradual feminization of scenography. Consequently, the parts of Mephistopheles and Lucifer are increasingly performed by actresses. For example, two entirely “female” theater productions have recently been staged in England, where all parts are played by ladies. Modernized Faust appears increasingly frequently not in the pseudo-Gothic entourage, as it was 30–40 years ago, but as our contemporary: he is surfing on the Internet, tracking news about the scandalous antics of the celebrities; he is craving for immediate fame and almost indifferent to the idea of total domination of the universe. The author comes to the conclusion that today the word in the theater is gradually moving to the periphery and freeing up the stage space for physical plastique, gestures, music, audio effects, light, visual digital technologies, multimedia and other means of scenic expression.