ABSTRACT The work of the acclaimed theatre director and filmmaker Ivan Vyrypaev reveals an evolving but discernible method and thematic preoccupations. While a growing body of scholarship has examined specific aspects of Vyrypaev’s work, surprisingly the central preoccupation that underlies these various devices remains relatively unformulated and unexamined. This article analyses Vyrypaev’s oeuvre – with particular attention to the film Delhi Dance (2013) and the play Unbearably Long Embraces (2015) – to articulate a theory of ‘subjective re-orientation’ at the heart of his dramaturgy. Building upon other valuable studies of violence, affect and materiality, and performative dialogues in Vyrypaev’s works, the article moves beyond a view of these devices as disparate and experimental to situate them into a more coherent artistic programme. Moreover, by considering a range of influences on his works – from his well-known zeal for Buddhism and eastern religion to a general subjective disorientation in post-Soviet Russia – this article sheds light on both Vyrypaev’s sui generis dramaturgy and the resonance of his works in Russia today.

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“混乱中的稳定性”：伊万·维里帕耶夫的《德里舞》（2013 年）和难以忍受的漫长拥抱（2015 年）中的主观重新定位

摘要 备受赞誉的戏剧导演和电影制作人伊万·维里帕耶夫 (Ivan Vyrypaev) 的作品揭示了一种不断发展但可辨别的方法和主题关注。虽然越来越多的学者研究了 Vyrypaev 工作的特定方面，但令人惊讶的是，这些不同装置背后的核心关注点仍然相对未经阐述和审查。本文分析了 Vyrypaev 的全部作品——特别关注电影《德里之舞》（2013 年）和戏剧《无法忍受的长时间拥抱》（2015 年）——以阐明他的戏剧核心的“主观重新定位”理论。在 Vyrypaev 作品中对暴力、情感和物质性以及表演性对话的其他有价值的研究的基础上，本文超越了将这些设备视为不同和实验性的观点，将它们置于一个更加连贯的艺术计划中。