ABSTRACT Over the last two decades, the stage director and filmmaker Ivan Vyrypaev has developed his own aesthetic practice, which tests the energy, reception, and affective appeal of the stage performance to forge a new artistic method that is meaningful to a modern audience. Like the notable avant-garde directors before him, he rejects the tradition of mimetic representation and physical verisimilitude, and has initiated a shift to the field of verbal signification – most notably in his rediscovery of skaz – and to the cognition of aural phenomena, thus situating his work within recent academic discourse on sound. His plays and films distinguish themselves from most visual media by their long, descriptive monologues and by the use of music. Verbal and sonic elements, not physical actions or stage directions, vividly describe changes, mutations, disease, transfer states, and traumas of the characters. This article argues that Vyrypaev’s theatre and cinema engages with a 21st-century audience through its resonance with its affective and emotional registers.

中文翻译：

---

重温伊万·维里帕耶夫的电影和剧院中的斯卡兹：后戏剧说唱的节奏和声音

摘要 在过去的二十年里，舞台导演和电影制作人伊万·维里帕耶夫发展了自己的审美实践，测试舞台表演的能量、接受度和情感吸引力，以打造一种对现代观众有意义的新艺术方法。和他之前著名的前卫导演一样，他拒绝了模仿再现和物理逼真的传统，并开始转向语言意指领域——最显着的是他对斯卡兹的重新发现——以及对听觉现象的认知，因此将他的工作置于最近关于声音的学术讨论中。他的戏剧和电影因其冗长的描述性独白和音乐的使用而与大多数视觉媒体区别开来。语言和声音元素，而不是身体动作或舞台指导，生动地描述了变化、突变、人物的疾病、转移状态和创伤。本文认为，维里帕耶夫的剧院和电影通过其情感和情感记录的共鸣与 21 世纪的观众互动。