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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">vgik</journal-id><journal-title-group><journal-title xml:lang="ru">Вестник ВГИК</journal-title><trans-title-group xml:lang="en"><trans-title>Vestnik VGIK</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2074-0832</issn><issn pub-type="epub">2713-2471</issn><publisher><publisher-name>ВГИК</publisher-name></publisher></journal-meta><article-meta><article-id custom-type="elpub" pub-id-type="custom">vgik-412</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>МИРОВОЙ КИНОПРОЦЕСС | АНАЛИЗ</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>WORLD CINEMA | ANALYSIS</subject></subj-group></article-categories><title-group><article-title>Сценическое рождение «В ожидании Годо» Сэмюэля Беккета</article-title><trans-title-group xml:lang="en"><trans-title>Scenic birth of “Waiting for Godot” by Samuel Beckett</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Анищенко</surname><given-names>Марина Геннадьевна</given-names></name><name name-style="western" xml:lang="en"><surname>Anishchenko</surname><given-names>Marina Gennadievna</given-names></name></name-alternatives><email xlink:type="simple">noemail@neicon.ru</email><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="ru"><institution>ВГИК</institution><country>Россия</country></aff><aff xml:lang="en"><institution>VGIK</institution><country>Russian Federation</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2012</year></pub-date><pub-date pub-type="epub"><day>08</day><month>04</month><year>2024</year></pub-date><volume>4</volume><issue>4(14)</issue><fpage>66</fpage><lpage>77</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Анищенко М.Г., 2024</copyright-statement><copyright-year>2024</copyright-year><copyright-holder xml:lang="ru">Анищенко М.Г.</copyright-holder><copyright-holder xml:lang="en">Anishchenko M.G.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.vestnik-vgik.com/jour/article/view/412">https://www.vestnik-vgik.com/jour/article/view/412</self-uri><abstract><p>В статье рассматривается феномен рождения новой драматургии и театральной режиссуры во Франции 1950-х. Дается характеристика первой постановки «В ожидании Годо» режиссером Роже Бленом. Комментируется поиск постановщиком сценических приемов, репрезентирующих новаторский характер пьесы Беккета.</p></abstract><trans-abstract xml:lang="en"><p>The phenomenon of the genesis of the new drama and new theatrical direction in France of the 1950s is investigated in the article. Also is given the characteristic of the first “ Waiting for Godot” set staged by Roger Blin. The new scenic admission, presenting innovative character of Beckett’s play is commented on in the text. </p></trans-abstract><kwd-group xml:lang="ru"><kwd>Сэмюэль Беккет</kwd><kwd>Роже Блен</kwd><kwd>драма абсурда</kwd><kwd>театр абсурда</kwd><kwd>Samuel Beckett</kwd><kwd>Roger Blin</kwd><kwd>absurd drama</kwd><kwd>theatre of absurd</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Интервью Тома Драйвера с Сэмюэлем Беккетом // Театр абсурда: Сборник статей и публикаций. — СПб.: Дмитрий Буланин, 2005. — 215 с.</mixed-citation><mixed-citation xml:lang="en">Интервью Тома Драйвера с Сэмюэлем Беккетом // Театр абсурда: Сборник статей и публикаций. — СПб.: Дмитрий Буланин, 2005. — 215 с.</mixed-citation></citation-alternatives></ref><ref id="cit2"><label>2</label><citation-alternatives><mixed-citation xml:lang="ru">Ионеско Э. 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Souvenirs etpropos recueillis par Linda Bellity Peskin. — Paris: Gallimard, 1986. — 334 p.</mixed-citation></citation-alternatives></ref></ref-list><fn-group><fn fn-type="conflict"><p>The authors declare that there are no conflicts of interest present.</p></fn></fn-group></back></article>
