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Journal articles on the topic 'Lady Macbeth of the Mtsensk District'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Roseberry, Eric, Shostakovich, Haugland, Langridge, Ewing, and Myung-Whun Chung. "Lady Macbeth of the Mtsensk District." Musical Times 135, no. 1813 (March 1994): 176. http://dx.doi.org/10.2307/1002921.

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2

Chapple, Freda. "Adaptation as Education:A Lady Macbeth of the Mtsensk District." Journal of Adaptation in Film & Performance 1, no. 1 (November 7, 2007): 17–31. http://dx.doi.org/10.1386/jafp.1.1.17_1.

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3

McBurney, Gerard. "SOME FREQUENTLY-ASKED QUESTIONS ABOUT SHOSTAKOVICH'S ‘ORANGO’." Tempo 64, no. 254 (October 2010): 38–40. http://dx.doi.org/10.1017/s0040298210000409.

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4

Bellmunt-Serrano, Manel. "Leskov’s rewriting of Lady Macbeth and the processes of adaptation and appropriation." Sederi, no. 29 (2019): 11–33. http://dx.doi.org/10.34136/sederi.2019.1.

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This article tries to provide a thorough analysis of Nikolai Leskov’s rewriting of Lady Macbeth, the Shakespearean character, in the novella Lady Macbeth of the Mtsensk District, from the perspective of Translation and Adaptation Studies. The focus will be placed on the ideology of the author who, with full knowledge, rewrites a previous work to adapt it to a specific context. Apart from Leskov’s work, attention will be also paid to two of its subsequent adaptations: Dmitri Shostakovich’s homonymous opera and William Oldroyd’s filmic version, Lady Macbeth. Finally, the importance of these processes for the development of target literary systems will be discussed and emphasized.

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5

Klimova, M. N. "Lady Macbeth in the Context of Russian Culture: From a Character to a Plot." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 73–88. http://dx.doi.org/10.25205/2410-7883-2020-1-73-88.

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Lady Macbeth, the ambitious wife of the title character of the Scottish tragedy of W. Shakespeare, became a household name. Her name is represented in collective consciousness both as a symbol of insidiousness and as a reminder of the torments of a guilty conscience. Lady Macbeth entered the world culture, as an image of a strong and aggressive woman, who is ready for a conscious violation of ethical norms and rises even against the laws of her nature. N. S. Leskov describes appearance of that kind of a character in a musty atmosphere of a Russian province in his famous novella “Lady Macbeth of the Mtsensk District” (1864). He pegged this image as the product of a suffocating lack of freedom of his contemporary reality. The author moved typical features of the Shakespearean heroine to a Russian soil, into the thick of people’s life and created a special love-criminal plot of complex origin for the purposes of its full disclosure in new conditions. The novella plot organically absorbs a number of Shakespearean motifs and images despite of the fact that it is outwardly far from the events of the tragedy “Macbeth”. Notwithstanding that Leskov’s novella had been leaving out by critics’ attention for more than 60 years, it was included in the gold fund of Russian classics in the 20 th century, evoked many artistic responses in literature and art, gained international fame and complemented the content of the “Russian myth” in world culture. Not only Leskov’s novella is discussed in the article but also other variants of the Russian Lady Macbeth’s plot such as the poem of N. Ushakov, the story of Yu. Dombrovsky, named after the Shakespearean heroine, as well as a fragment of the novel by L. Ulitskaya “Jacob’s Ladder” with discussing of the draft of one of the possible staging of the essay. Also, a hidden presence of this plot for the first time is noticed in the story “Rus” by E. I. Zamyatin and in the ballad-song “Lesnichikha” by V. Dolina. Moreover, the article gives analysis of transpositions of this literary source into theater, music and cinema languages: its first stage adaptation by director A. Dikiy, the opera “Katerina Izmailova” by D. D. Shostakovich, and its screen versions and cinema remakes such as “Siberian Lady Macbeth” by A. Wajda, “Lady Macbeth of the Mtsensk District” by R. Balayan, “Moscow Nights” by V. Todorovsky, “Lady Macbeth” by W. Oldroyd. The moral evaluation of the Katerina Izmailova’s story left for Leskov as a frightening mystery of an immense Russian soul, but in the further processing of the plot it ranges from condemnation to justification and even apology of the heroine. Adaptations of this plot are also differ in the degree of dependence of the central female image from his Shakespearean prototype.

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6

Emerson, Caryl. "Back to the future: Shostakovich's revision of Leskov's ‘Lady Macbeth of Mtsensk District’." Cambridge Opera Journal 1, no. 1 (March 1989): 59–78. http://dx.doi.org/10.1017/s0954586700002767.

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‘Librettology’ has begun to acquire a working vocabulary. Critics now investigate the relationship between a libretto and its literary source in terms other than fidelity; a text adapted for musical setting no longer disappears from the realm of the ‘literary’. Historians and musicologists are considering the role of opera librettos in cultural history, with special attention to librettos that rework historical, national or mythic themes. How operatic texts transpose and thus ‘re-accent’ a nation's literary classics is emerging as a fruitful and still unexplored field.

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7

WELLS, ELIZABETH A. "‘The New Woman’: Lady Macbeth and sexual politics in the Stalinist era." Cambridge Opera Journal 13, no. 2 (July 2001): 163–89. http://dx.doi.org/10.1017/s095458670100163x.

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Shostakovich's Lady Macbeth of the Mtsensk District became extraordinarily infamous after its damnation by Pravda in 1936. The amount of violence and sex in the opera distinguishes it from the Leskov novella on which it was based, and seems to have underpinned Stalin's disapproval. The complex relation between Shostakovich's detailed representation of sexuality and his portrait of Katerina, the opera's tragic heroine, mirrors the social tensions of the sexual revolution and the conservative backlash of the 1920s and 1930s. The writings of feminist Alexandra Kollontai (1872–1952) about the new Soviet woman display striking similarities to Shostakovich's portrayal of his female characters and offer a context for his approach.

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8

Géry, Catherine. "La « soviétisation » des héritages du XIXe siècle : l'exemple de Nikolaï Leskov (Lady Macbeth du district de Mtsensk)." Revue Russe 39, no. 1 (2012): 27–38. http://dx.doi.org/10.3406/russe.2012.2512.

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9

BULLOCK, PHILIP ROSS. "Staging Stalinism: The search for Soviet opera in the 1930s." Cambridge Opera Journal 18, no. 1 (March 2006): 83–108. http://dx.doi.org/10.1017/s0954586706002114.

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With the exception of Shostakovich's Lady Macbeth of the Mtsensk District, Soviet opera in the 1930s has been relatively little studied. Yet this was an era in which opera was vigorously promoted as an ideal Soviet form after more than a decade of criticism from radical proletarian groups. This article considers three main aspects of Soviet operatic culture in the 1930s. First, opera's emotional power was valued as a way to mobilise mass opinion and the opera house was increasingly seen as a highly ideological site. Second, whilst most of the work in founding a Soviet repertory was carried out at Leningrad's Malyi Opera Theatre, Moscow became increasingly involved as the decade continued. Third, Soviet opera was highly dependent on adaptations of socialist realist novels. This phenomenon of ‘transposition’ is seen here as an attempt to invest scores with an unimpeachable political message. Moreover, transposition was an ideal method of regulating ambiguous literary texts by condensing their cardinal features in dramatic form. Although the story of Soviet opera was largely one of failure, its study sheds important light not only on the development of the Russian operatic tradition, but also on the dynamics of Stalinist culture.

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10

Jiang, Yuan. "REPRESENTATION OF SHORT HAPPINESS IN TRAGIC LIFE THROUGH NOMAINATION AND PREDICATION MEANS IN N. S. LESKOV’S NOVELLA «LADY MACBETH OF THE MTSENSK DISTRICT»." Verhnevolzhski Philological Bulletin 20, no. 1 (2020): 66–72. http://dx.doi.org/10.20323/2499-9679-2020-1-20-66-72.

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11

Huband, J. Daniel. "Shostakovich's Fifth Symphony: A Soviet Artist's Reply…?" Tempo, no. 173 (June 1990): 11–16. http://dx.doi.org/10.1017/s0040298200019070.

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The attempt to relate a nonmusical event to a musical phenomenon creates problems for the musicologist. Compelled to search beyond the mere notes on the printed page, one may try to gain more penetrating insights into a particular work by scrutinizing historical circumstances concurrent with the genesis of the music. In the case of Dmitri Shostakovich's Fifth Symphony, the social and political background to this piece has been greatly emphasized. Yet could the efforts to relate the composer's compositional style to his troubles with the Soviet regime obscure musical issues? The Fifth Symphony, frequently viewed by many music historians as an apologetic musical response to the Pravda attack on the opera Lady Macbeth of the Mtsensk District, does not present as drastic a change in musical style as is commonly believed. An analysis of the four earlier symphonies reveals that they function importantly in the composer's evolution as a symphonist; Shostakovich refines several compositional techniques employed in these works and incorporates them in the Fifth Symphony, his first fully mature piece. The most salient features of the composer's early works that most clearly relate to his development as a symphonist shall be discussed in this essay. This process aims to reassess the hypothesis which suggests Shostakovich suddenly mended his ways in light of official criticism.

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12

Frolova-Walker, M. "Lady Macbeth of Mtsensk: Bleak Tragedy or Black Comedy?" Opera Quarterly 25, no. 1-2 (December 1, 2009): 150–56. http://dx.doi.org/10.1093/oq/kbp027.

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13

John Holland. "The Gambler, and: Lady Macbeth of Mtsensk (review)." Notes 67, no. 1 (2010): 174–75. http://dx.doi.org/10.1353/not.2010.0036.

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14

Kolesnyk, Yevdokiia. "Integrity of the vocal-stage image of Kateryna Ismailova in the same opera by D. Shostakovich." Ukrainian musicology 46 (October 27, 2020): 7–17. http://dx.doi.org/10.31318/0130-5298.2020.46.234584.

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The relevance of the research lies in the desire of creators and scientists to comprehend the deep layers, subtexts and hints of the composer, who, against the background of the modern interest in psychological drama, want to rethink his creative heritage. Scientific novelty consists in the establishment of specific approaches to creating the image of the main character through the organic interaction of music, vocals, acting, plastic, scenographic solutions of the performance in various versions of the opera. The purpose of the publication is to determine the features of the integrity of the vocal and stage image of Kateryna Ismailova in the opera of the same name by D. Shostakovich with the use of modern means of expression, their potential for new synthesis. Research methods. To clarify the differences in solving the image of the main character in the essay by N. Leskov and the opera by D. Shostakovich, the comparative method is used. To determine the features of the incarnations of different versions of the opera, from the time of its creation to the present, the comparative method was used. To determine the specifics of different directorial approaches to the interpretation of the image of Kateryna, genre-stylistic and interpretation methods were used. The main results and conclusions of the study. The characteristic features of the interpretation of D. Shostakovich's opera are considered: in the first edition - "Lady Macbeth of Mtsensk county", in the second - "Kateryna Ismailova", their difference from the original source - N. Leskov's essay, who gave the original title of the work. The transformations of the image of the main character in the context of N. Leskov's essay and in different versions of the opera are analyzed. Specific approaches to the creation of a holistic vocal and stage image of Kateryna have been identified due to the organic interaction of music, vocals, acting, plastics, scenographic solutions of the performance in various versions of the opera. It is proved that all three versions of the opera - the first and second editions and the “zero” version are equally actualized in the world's musical theaters and are selected in accordance with the institution's repertoire policy and the directors' personal intentions. It has been established that the director's approaches to the interpretation of the opera can vary, but the directors should not cross the moral and ethical line, adhering to the ideological plan of the composer. During the existence of the opera, the image of the main character develops along the path of deepening psychologism, acquiring greater integrity due to the organic interaction of improved means of stage expression.

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15

Géry, Catherine. "Katerina Izmaïlova est-elle une femme libérée ? Ambivalences du féminin dans Lady Macbeth du district de Mtsensk de Dmitri Chostakovitch (1934)." ILCEA, no. 29 (June 27, 2017). http://dx.doi.org/10.4000/ilcea.4231.

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16

Semenza, Greg M. Colón. "William Oldroyd’s Lady Macbeth, Shakespeare, and Adaptation Studies." Adaptation, August 4, 2021. http://dx.doi.org/10.1093/adaptation/apab015.

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Abstract The title of Oldroyd’s taut thriller, Lady Macbeth (2016), invites audiences to approach the film intertextually. For a small number of viewers familiar with Nikolai Leskov’s 1865 novella Lady Macbeth of Mtsensk, from which the film draws its main inspiration, Shakespeare’s more well-known character will recede into a position of secondary importance. For the majority of viewers, however, a more direct relationship with Shakespeare will be assumed: is Oldroyd’s film an adaptation of the 1606 play? Is it an appropriation of the play’s famous character? Although such questions about an artwork’s relationship to previous texts can seem largely academic, in the case of Oldroyd’s film, they might reasonably be said to be inevitable and, therefore, potentially central to the work’s meaning. Adaptation scholars often struggle to classify such cases—since the line between what we call adaptations and what we call appropriations remains somewhat blurry. The essay uses Oldroyd’s Lady Macbeth as a practical tool for working through what is at stake in these ‘academic’ or ‘semantic’ debates about the frustrating varieties of textual adaptation. The larger intertextual history of Lady Macbeth illustrates the manner in which our critical debates about adaptation tend to reflect, and inform, our deepest desires for and anxieties about progress—or perhaps, more accurately, the apparent lack of such progress—from one historical moment to the next. In doing so, such debates almost mimic the trajectory and functions of adaptations themselves, helping us to understand better why definitions of adaptation must remain elastic and manifold.

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