Open AccessThe emergence of the independent theatre scene in Estonia (1987–92)
Author(s) -
Luule Epner
Publication year - 2022
Publication title -
nordic theatre studies
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.139
H-Index - 2
eISSN - 2002-3898
pISSN - 0904-6380
DOI - 10.7146/nts.v33i1.131993
Subject(s) - postmodernism , amateur , estonian , westernization , realm , aesthetics , nationalism , postmodern theatre , period (music) , radicalization , state (computer science) , history , sociology , literature , art , political science , modernization theory , philosophy , law , archaeology , politics , linguistics , algorithm , computer science , terrorism
The years 1987–92 mark the first or breakthrough stage of the Estonian transition period from being one of the Soviet republics to a newly independentdemocratic state. The cultural processes of the transition are commonly discussed in terms of re-westernization. However, the picture is more complex,as Western influences intertwined with the legacy of the Soviet cultural realm. The article looks into the interplay between various influences, analyzing theemerging independent theatre scene from both institutional and aesthetic perspectives. On the institutional level, a range of small groups emerged thatoften blurred the line between (semi-)professional and amateur theatre. On the aesthetic level, one can identify three main trends: biographical and/or culturalhistorical documentary theatre; theatre based on the ethnic heritage of different (mostly Northern) nations; postmodern aesthetics. Two more general patterns are 1) the radicalization of Soviet-era artistic searches, empowered by the rise of Estonian nationalism, and 2) the advent of postmodernism, triggered by contemporary Western ideas about theatre.