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Елена Семенова Александровна, доктор педагогических наук, родилась 6 января 1979 года в Донецке, Украина, с трех лет прожила в Омске с родителями. Окончив в 2001 году Омский государственный университет им. Ф.М. Достоевского, она стала старшим научным сотрудником Института художественного образования и культурологии Российской академии образования, Москва. В 2002 году она прошла курс клоунады, иллюзии и музыкальных эксцентриков в Московском центре циркового искусства, а в 2003 году поступила в ГИТИС на курс клоунады. С 2002 по 2003 год Елена работала в труппе «Невероятно странный цирк». В 2007 году защитила диссертацию на тему «Развитие творческой индивидуальности младших школьников искусством клоунады». В настоящее время она живет в Москве, работая над докторской диссертацией по карнавальной культуре. Елена сыграла женские, в том числе комические, роли в нескольких российских фильмах, документальных фильмах и телевизионных шоу. Она принимала участие в проекте «Дураки на Волге» Славы Полунина (2003), «СноуШоу» и других проектах. Она опубликовала более 60 научных статей о клоунаде, карнавале, творчестве, развитии детей и уличном театре. Сегодня она актриса в уличном огневом театре «Театр-Экс» под художественным руководством Юрия Берладина. Среди ее текущих проектов - работа над проектом «Деревенский театр», культурного и образовательного центра в деревне «Крест» Речанского сельского поселения Торопецкого района Тверской области, который 8 июня 2009 года был удостоен премии "Акция" как проект в номинации за «Помощь театрам , Студий и национальных театров России ".
Elena Semenova Aleksandrovna, PhD, born Jan. 6, 1979 in Donetsk, Ukraine, lived in the Siberian city of Omsk with her parents since age three. Having graduated in 2001 from the Omsk F. M. Dostoevsky State University, she is now a senior research scientist at the Institute of Art Education & Cultural Studies, Russian Academy of Education, Moscow. In 2002, she took a course on clowning, illusion and musical eccentrics at the Moscow Center for Circus Arts and, in 2003, entered GITIS for a course on clowning. From 2002 to 2003, Elena worked in the "Incredibly odd circus" troupe. Her 2007 thesis was on "Development of creative individuality of younger schoolboys: the art of clowning." She currently lives in Moscow, working on her doctoral dissertation on carnival culture. Elena has played female, including lead and especially comic, roles in several Russian movies, documentaries and television shows. She has participated in Slava Polunin's "Fools on the Volga" (2003), "Snowshow," and other productions. She has published over 60 scientific articles on clowning, carnival, creativity, child development and street theater. She is today an actress in the Fire House "theater-Ex" under the artistic direction of Yuri Berladin. Among her current projects is the creation of "Country House," a cultural and educational center in the village of "Cross" Rechanskogo rural settlement, Toropetzkaya district of Tver region, which on June 08, 2009 won Berladin and Semenova the "Assistance to theaters, studios and national theaters of Russia" nomination from the government.
Elena Semenova Aleksandrovna - biodata (русском)
Elena's profile at Institute of Art Education & Cultural Studies, Russian Academy of Education, Moscow (русском)
Elena's profile & biodata at "Theatre EX" Fire House Fire Theatre, Moscow (русском)
Bibliography of Elena's published Russian works (русском)
Migration of carnival reflexion in childhood (русском) (16 May 2016)
The author sanctifies kulturotvorcheskoj feature of contemporary childhood. Carnival reflexive activity is seen as the most important mission of his childhood. For example, the carnival reflections in a child between two and seven years shows the operation of carnival structures of thinking. The operational concept of "migration of carnival reflection" is introduced and applied to determine the peak of carnival activity in preschool children. Two types of carnival reflection are determined: adaptive and non-adaptive.
Carnival reflexions between two and seven years of age (русском) (2016)
Clown instinct in the evolution of childhood (русском) (2016)
Abstract: The theoretical concepts of carnival culture, laughter, the comic can clarify the question of the "clown instinct" in the fields of physiology, psychology and pedagogy. The clown instinct is approached from several angles: as "a parahumorous phenomenon," as a phenomenon of children's age-determined endowments, as a rudimentary quality of infantilism, as 'a game mine', as generating "a metacommunicative signal of a pseudo-aggressive game" (A.G. Kozintsev's term). Different theoretical positions are distinguished, as is Kozintsev's metalinguistic approach to semantic theories of laughter and humor. In general, the clown instinct is proposed as a universal mechanism of the human psyche that is genetically inherent in everyone. Keywords: clown instinct, a playful face, metacommunicative signal of the game, the total impression, sign of the inner child, the evolution of childhood.
Cultural nature of childhood carnival reflexion (русском) (2016)
Abstract. The cultural mechanisms and functions of carnival reflexive activity in childhood are revealed. For example, carnival reflexion of the child from two to seven years of age shows carnival structures of thinking in operation. Introducing the working concept of "migration of carnival reflection," the author applies it to determine the peaks of carnival activity in children of preschool age. The analysis identifies two types of carnival reflexion: adaptive and non-adaptive. There are four periods susceptible to carnival activity, when the child has the greatest creative potential.
Keywords: culture, migration of carnival of reflection, early childhood, clown, humorous reflection, cultural creativity.
Cultural nature of carnival reflection of childhood (русском) (2016)
Abstract. The cultural mechanisms and functions of the carnival are revealed in reflexive activity during childhood. The carnivalesque reflexion of a child of two to seven years, for example, reveals the carnival structures of thinking as operative processes. The author first introduces "migration of carnival reflexion" as a working concept into the pedagogical revolution, applying it to determine the peaks of carnival activity in preschool children. The analysis identifies two types of carnival reflexion: adaptive and non-adaptive. There are four periods that are prone to carnival activity, during which the child has the greatest creative potential.
M. Bakhtin's concept of carnival culture in V. I. Polunin's street theater (русском) (2015)
The relevance of the study is due to the perennial tragedy of the biocultural duality of the human essence, which reaches its peak in the era of scientific and technological revolution. On the one hand, a person reaches the heights of intellect, and on the other hand, plunges from the same peak into the abyss of instincts. The central object of research is the street theater of Vyacheslav Ivanovich "Slava" Polunin, as the most democratic form of carnival freedom in Russia. The author sees the phenomenality of Polunin's street theater for Russia is precisely because in this form the utopian ideas of M.M. Bakhtin about a holiday on earth: carnival as a borderland between art and festive reality, theater and life. Carnival was embodied in the forms of the street theatrical experiment of the "Litsedeyi" mummers of the 90s. Polunina with all the features of the mentality of Russian laughter, combining theatricalization and carnivalization in a clown worldview.
Formation of carnival culture of university students as a pedagogical problem (русском) (2015)
Through the analysis of the nature of art, the author considers the carnival potential of the individual, which is basic to the professions relating to art and culture. The formation of the carnival culture of art students is not understood In the theory and practice of Russian pedagogy, as evidenced by the absence of methods for the development of carnival thinking among students in line with their future profession. In this regard, the author offers consequential, alternative ways to identify and form the carnival potential of students during their period of study at the university. The article presents the results of an experiment on the mastering of the profession of the director of theatrical performances and mass holidays by the students of the Moscow State University of Culture and Arts through the art of clowning.
The clown in the clown show - L.S. Vygotsky's opinion on "the crisis at age seven" (русском) (2015)
Abstract: The crisis of the child at age seven in the conditions of modern society is presented from the perspective of speech pathologist L. S. Vygotsky on this phenomenon in the early 20th century. Speeding up the natural carnival activity of children by the adult community in the modern world is represented as an actual serious psychological and pedagogical problem, including a problem of speech. Clowning, (may be externally and false, unmotivated), is originally designed by child’s nature to cope with new reflective neoplasms with paradoxical means: in the consumer society, it begins to assume completely different functions. Carnival in the 21st century becomes a separate, cultivate, train muscle on the body of society, culture, leisure, thinking, in particular, this applies to the child.
Key words: humorous reflection, carnival reflection, the misbehavior, the crisis of seven years, the crisis clown, defectology, psychology of art, carnival art forms, carnival behavior, clown mask, meta- normative behavior, abnormal child, the normal child, the trickster, postmodernism, comic, humorous status, Jester, preschoolers, L. S. Vygotsky.
Carnival in periods of crisis in cultural development (2014) (русском)
The article considers the current state of the development of culture in its carnival, comic aspect. The author tries in her own way to answer the following questions: what is carnivalization in today's culture? Is carnivalization a symptom of crisis or a potential exit from the latter? How to interpret today such a phenomenon as a "carnival of singles"? The article notes that "direction" penetrates today into all spheres of modern life, and is associated, as a rule, with such processes in society as theatricalization ("The Society of the Performance" by Guy Deborah), conviviality, carnivalization ("The Sinister Carnival" by R. Genon). Such fundamental categories as profane and the sacred are so mixed up in modern life that for the mere consumer of entertaining, advertising and other products concepts "theatricalization" and "carnivalization" do not differ from one another. Therefore, the carnival development of man and culture, especially in times of crisis, should gradually acquire a self-conscious character. Carnival elements can be creatively managed: postmodern artists, clowns, absurdist poets and other "Funny People" serve as excellent proof.
Clownery in normality and pathology (2012) (русском)
The article considers so little studied as concept as "clownery". The author raises an unusual question: what is clownery in normality and pathology? Clownery, in the author's opinion, is a phenomenon at the junction of the comic and the tragic. It is underestimated by many scientists due its comic origin, with this category of the comic being considered by many authors as a negative phenomenon. The author tries to give arguments in favor of the art of clowning.
Carnival arts in the development of creative individuality (2012) (русском)
The article considers such a phenomenon in culture and art as an artistic protest. The author dwells in detail on the theme of overcoming the crises of the development of culture and art with the help of carnival games and contrary behavior. Questions such as the relation between child development and postmodernism, what is 'carnavalcarnation' (карнавалкарнация, term coined by the author), how the child overcomes its crises of development compared to how it is done by an artist-postmodernist. The author analyzes the theory of children's games popular in Russia at the beginning of the 20th century, concluding that carnival arts have till now been studied little in pedagogy, although art today has a huge experience in this field. The author tries to draw attention to postmodern art's rupture with its progenitor as its childhood.
"Carnival revolution" and "street pedagogy" (2009) (русском)
The article discusses the development of children's creative individuality by means of various kinds of street theater. The author shows that the poetic and romantic theater Carnival gives the child the opportunity to "fly" in those special places where it is possible to create, liberating itself, transforming the world and finding real freedom. The author analyzes the potential of carnival theatrical forms (performances, clown) in the creative development of the child's identity
Development of creative individuality. Younger schoolchildren. Art of clowning (2007) (русском)