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Relevant bibliographies by topics / Russian Dramatists

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Academic literature on the topic 'Russian Dramatists'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Russian Dramatists"

1

NDiaye, Iwona Anna. "Badania nad współczesną dramaturgią rosyjską Walentego Piłata (1946-2022)." Acta Neophilologica 2, no. XXIV (June 30, 2022): 261–72. http://dx.doi.org/10.31648/an.7852.

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The article presents the profile of the Polish researcher Walenty Piłat – a respected expert in Russian dramaturgy. The literary output devoted to contemporary Russian drama is in the center of attention. Among the rich galaxy of Russian authors, one of the most important places in the literary outout of W. Piłat is occupied by dramatists such as Aleksandr Vampilov, Nikolai Kolada, Ludmila Pietrushevska and others. The author presents the most important publications of W. Piłat, including the monographs: The work of Aleksandr Vampilov. Problems of Poetics (1986), Contemporary Russian dramaturgy. The eighties (1995), On the threshold of the twenty-first century. Sketches on Contemporary Russian Drama (2000).

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2

Prokhorov, Artem. "Russian web series: Mastering the new format." Journal of Screenwriting 12, no. 1 (March 1, 2021): 25–37. http://dx.doi.org/10.1386/josc_00046_1.

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The article studies how domestic screenwriters and directors are exploring the web series format that started actively developing in Russia only five years ago. Both series produced for major internet platforms and indie projects created by independent studios in the past five years are reviewed. The article analyses how Russian authors understand and take into account in their work the specifics of the new field, as well as the format-forming features of web series that have developed abroad. Such aspects as the lack of censorship, freedom from severe restrictions on story genres and heroes’ types have a significant impact on the dramaturgy of native web series. Those are the things that determine the attractiveness of this new format for experienced Russian authors moving to the internet from related fields: cinema and television. The results of the study show that Russian dramatists and directors rely on foreign experience of creating web series, but at the same time they try to modify certain features of this format and sometimes manage to find their own unique solutions.

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3

Armstrong, James. "War, Pandemic, and Immortality: 1918 and the Drama of Eternal Life." Shaw 42, no. 2 (November 1, 2022): 460–79. http://dx.doi.org/10.5325/shaw.42.2.0460.

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ABSTRACT Bernard Shaw’s Back to Methuselah and Luigi Antonelli’s A Man Confronts Himself both had their origin in 1918, as mass slaughter from the Great War, an assault on traditional values by the Russian Revolution, and the devastation of the flu pandemic created a fascination with the extension of human life. Both dramatists juxtapose immortality with the grotesque business of ordinary life. However, Antonelli sounds a traditionalist warning, while Shaw looks forward to unleashed potential. Though Shaw’s work strives for philosophical purity, it forfeits the powerful tensions of the grotesque, which seeks to live life even in the midst of death.

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4

Berlova, Maria. "The Transnationalism of Swedish and Russian National Theatres in the Second Half of the Eighteenth Century: How Foreign Performative Art Sharpened the Aesthetics of National Identity." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 104. http://dx.doi.org/10.7146/nts.v27i1.24243.

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In this article, I consider the formation of national theatres in Sweden and Russia under the guidance of King Gustav III and Empress Catherine II. Both Swedish and Russian theatres in the second half of the eighteenth century consolidated their nationalism by appealing to various national cultures and absorbing them. One of the achievements of the Enlightenment was the rise in popularity of theatre and its transnationalism. Several European countries, like Russia, Sweden, Po- land, Hungary and others, decided to follow France and Italy’s example with their older traditions, and participate in the revival of the theatrical arts, while aiming at the same time to preserve their national identities. The general tendency in all European countries of “second theatre culture” was toward transnationalism, i.e. the acceptance of the inter-penetration between the various European cultures with the unavoidable impact of French and Italian theatres. The historical plays of the two royal dramatists – Gustav III and Catherine II – were based on nation- al history and formulated following models of mainly French and English drama. The monarchs resorted to the help of French, Italian and German composers, stage designers, architects, choreographers and actors to produce their plays. However, such cooperation only emphasized Swedish as well as Russian national- ism. Despite many similarities, Gustav III and Catherine II differed somewhat in how each positioned their own brand of nationalism. By delving deeper into the details of the formation of the national theatres by these monarchs, I will explore similarities and differences between their two theatres.

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5

Liu, Jingling, and Irina V. Monisova. "Meng Jinghui’s adaptations of Vladimir Mayakovsky’s plays." RUDN Journal of Studies in Literature and Journalism 28, no. 4 (December 15, 2023): 693–703. http://dx.doi.org/10.22363/2312-9220-2023-28-4-693-703.

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Vladimir Mayakovsky’s dramatic heritage has had a great impact on Chinese avant-garde director and playwright Meng Jinghui. The study traces the stages of Mayakovsky’s presence in Chinese theater art to focus on Meng Jinghui’s three productions of “The Bedbug” (2000-2017). The dramatists share the same desire for theatrical innovation and a similar understanding of theater art. However, they have different worldviews and aesthetic approaches. Meng Jinghui modernized the original Russian pretext and turned to some theatrical principles, first stipulated by Vsevolod Meyerhold. His remakes are stylistically original textual interpretations that have gained a prominent place in the modern Chinese avant-garde fringe theater. Meng Jinghui followed Mayakovsky in a number of formal techniques and the overall satirical orientation only to reshape and deconstruct the basic ideas of the original play, thus creating a different temporal and cultural chronotope. Authentic as it may seem, Meng Jinghui creativity results sprouted from a dialogue and polemics with the Soviet poet and playwright.

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6

Zabotin, Daniil V. "In Search of Lost Realities: Alan Bennett’s “The Uncommon Reader’’ through Russian Reader’s Eyes." Literary Fact, no. 4 (30) (2023): 279–302. http://dx.doi.org/10.22455/2541-8297-2023-30-279-302.

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The article is dedicated to the critical reflection of the original and translated version of Alan Bennett’s “The Uncommon Reader,” whose main character is unnamed, but easily recognizable Queen Elizabeth II. Consequently, the entire different cultural context of this pseudo-biographical narrative creates certain difficulties for the translator, because she has to understand and reproduce with maximum accuracy what English speakers read without any hindrance. So, the main approach of the translation of “The Uncommon Reader” into Russian is considered to be a domesticating strategy, which means the need to adapt the story by simplifying or replacing (renaming) historical and everyday realities, when they are transplanted from one worldview to another: for example, “Alsatian — German Shepherd” or “Dame Commander — Court Lady.” It should be emphasized that the nomination problem plays an important role in Bennett’s work: while his characters dive into the depths of fiction, they seem to start to get know to themselves anew with the help of found “second names” that are foreign words of Greek (“opsimath”) and Latin (“amanuensis”) origin. The study of the author’s reading philosophy leads us to the conclusion about the uniqueness of the original title of the story, reflecting the idea of the ambivalent nature of the image of Her Royal Majesty. After a long journey from a novice reader to a writing reader, she still decided to enter the circle of the independent Republic of Letters, which blossoms with tens of names of novelists, poets, and dramatists of the present and the past on the pages of “The Uncommon Reader.” Such a literary union demanded from the translator to create a separate and well-thought commentary, which can be interpreted as a secondary attempt at “reverse translation” (A.V. Mikhailov).

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7

Abdul Muttaleb, Fuad. "Dramatic Transformation: The Hamlet-Type in Shakespeare's and Chekhov's versions." International Journal of Language and Literary Studies 1, no. 2 (September 3, 2019): 17–33. http://dx.doi.org/10.36892/ijlls.v1i2.30.

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Shakespeare wrote Hamlet at the very beginning of the seventeenth century, at the height of his creative powers. It is arguably the most popular and famous play ever written, and its hero seems to have exerted a huge fascination over theatre audiences of every age, nation, colour and creed. Shakespeare often borrowed plots and ideas from different sources, but they were transformed by his poetry and his dramatic talents, and this applies largely to Hamlet. He used an early version of Hamlet and rewrote it to suite his own idea and artistic purpose. It seems that he was casting an eye on the thrown of Queen Elizabeth I while creating his paly. A lot has been said and written about this subject matter; therefore, some critical and theoretical views were introduced to discuss and consolidate the argument about the transformation of the type and the drama. In the same way Shakespeare anglicized the type of Hamlet and made it a representation of the Renaissance spirit and man, Anton Chekhov, in his full- length plays, russified it and made it a representation of the Russian life and characters of the intellectuals of the last two decades in the nineteenth century. The main point this work is trying to put forward, critically and comparatively, is how the Hamlet- type was manipulated by two prominent dramatists, Shakespeare and Chekhov, to express their own feelings, intellectual questionings, and artistic concerns.

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8

Draskoczy, Julie S., and Cynthia Marsh. "Maxim Gorky: Russian Dramatist." Modern Language Review 102, no. 4 (October 1, 2007): 1196. http://dx.doi.org/10.2307/20467615.

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9

Panos, Leah. "Trevor Griffiths' ‘Absolute Beginners’: Socialist Humanism and the Television Studio." Journal of British Cinema and Television 10, no. 1 (January 2013): 151–70. http://dx.doi.org/10.3366/jbctv.2013.0127.

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This article examines how conventional studio production strategies were active in the construction of political meaning in the 1974 television play ‘Absolute Beginners’, written by Trevor Griffiths. Produced for the BBC anthology series Fall of Eagles, the play dramatises Lenin's involvement with the Russian Social Democratic Workers Party (RSDWP) and explores the contradictions between personal ethics and political necessity. Through close textual analysis and contextual discussion of other plays in the series, this piece demonstrates how shot patterns and spatial and performative devices in ‘Absolute Beginners’ supported the drama's socialist-humanist and feminist themes. Drawing on existing writing about the studio mode, it argues that the qualities of intimacy and presentational distance that it engendered were highly appropriate for the personal and the political dialectic in ‘Absolute Beginners’. While using authorship as a convenient category for referring to the coherence of Griffiths' thematic concerns and dramatic structure during this period, the article complicates notions of the television dramatist as author by arguing for the importance of visual style and showing how ‘ordinary’ studio form was operational in the play's political meanings.

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Draskoczy, Julie S. "Maxim Gorky: Russian Dramatist by Cynthia Marsh." Modern Language Review 102, no. 4 (2007): 1196–97. http://dx.doi.org/10.1353/mlr.2007.0446.

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Books on the topic "Russian Dramatists"

1

Rassadin, Stanislav Borisovich. Geniĭ i zlodeĭstvo, ili, Delo Sukhovo-Kobylina. Moskva: "Kniga,", 1989.

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2

Rumi͡ant͡sev, Andreĭ. Aleksandr Vampilov: Studencheskie gody : vospominanii͡a, maloizvestnye stranit͡sy A. Vampilova. Irkutsk: Vostochno-Sibirskoe knizhnoe izd-vo, 1993.

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3

Ostrovsky, Aleksandr Nikolaevich. Vsi︠a︡ zhiznʹ-- teatru. Moskva: "Sov. Rossii︠a︡", 1989.

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4

Zorkin, V. I. Ne uĭti ot pami͡a︡ti: Shtrikhi k portretu Aleksandra Vampilova. Irkutsk: Izd-vo Irkutskogo universiteta, 1997.

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5

Shvart︠s︡, Evgeniĭ. Zhitie skazochnika: Iz avtobiograficheskoĭ prozy, pisʹma, vospominanii︠a︡ o pisatele. Moskva: Knizhnai︠a︡ palata, 1991.

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6

Rassadin, Stanislav. Geniĭ i zlodeĭstvo, ili, Delo Sukhovo-Kobylina. Moskva: "Kniga,", 1989.

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7

Braginskiĭ, Ėmilʹ. Igra voobrazhenii︠a︡: Komedii dli︠a︡ teatra. Moskva: Sov. pisatelʹ, 1989.

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8

Stanislavovič, Radzinskij Ėdvard. Moi︠a︡ teatralʹnai︠a︡ zhiznʹ. Moskva: Izd-vo "AST", 2007.

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9

Trofimovich, Kabanov Vi͡a︡cheslav, and Griboyedov Aleksandr Sergeyevich 1795-1829, eds. A.S. Griboedov: Lit͡s︡o i geniĭ. Moskva: Izd-vo "Knizhnai͡a︡ palata,", 1997.

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10

Shvart͡s, Evgeniĭ. Pozvonki minuvshikh dneĭ: Proizvedenii͡a 40-kh--50-kh godov, dnevniki i pisʹma. Moskva: Korona-print, 1999.

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Book chapters on the topic "Russian Dramatists"

1

Milne, Lesley. "Mikhail Bulgakov: the Status of the Dramatist and the Status of the Text." In Russian Theatre in the Age of Modernism, 236–59. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20749-7_11.

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2

Kaminer, Jenny. "Violent Imaginings." In Haunted Dreams, 80–102. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501762192.003.0004.

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This chapter focuses on three Russian plays that interrogate the nexus of adolescence, violence, fantasy, and heroism. These are Plasticine (2000) by Vasily Sigarev, The Bullet Collector (2004) by Iury Klavdiev, and Natasha's Dream (2009) by Iaroslava Pulinovich. These dramatists present adolescence as a time when their heroes navigate the continuum between innocence and aggression, between succumbing to and inflicting violence. Ultimately, all three plays dramatize violence's prehistory—and, thus, its inescapability—by depicting how it combines with fantasy to colonize the imaginations of the young. In exposing the tragic consequences of this colonization, the plays indirectly condemn official Russian governmental projects such as the Youth Army, which aim to bind young Russians to the state by harnessing precisely this combination of aggression and imagination.

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3

Dudrah, Rajinder, Julie Curtis, Philip Ross Bullock, and Noah Birksted-Breen. "4. A Breath of Fresh Air… Ivan Vyrypaev's Oxygen (2002)." In Creative Multilingualism, 87–108. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0206.04.

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Chapter 4 investigates interaction between languages in the performing arts – theatre, stand-up comedy, grime, rap, opera – and the types of creativity this generates in response to cultural contexts and audiences, drawing on media and performance studies, and working with artists ranging from Russian dramatists to Black British and British Asian musicians from Birmingham and Leicester.

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4

Ryan, Alan. "Isaiah Berlin 1909–1997." In Proceedings of the British Academy Volume 130, Biographical Memoirs of Fellows, IV. British Academy, 2005. http://dx.doi.org/10.5871/bacad/9780197263501.003.0001.

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Isaiah Berlin (1909–1997), a Fellow of the British Academy, was an extraordinary obituarist and memorialist. In the 1930s, Berlin was part of a small group of young and iconoclastic philosophers that included John Austin, Stuart Hampshire, and A. J. Ayer. Ayer was an early convert to logical positivism while Austin, Hampshire and Berlin were not. Berlin’s career was first interrupted and then spectacularly accelerated by the outbreak of World War II. The years he spent in Washington brought Berlin into close contact with the makers of American foreign policy and reshaped his sense of what he might do with his life. Even more important were his postwar encounters with Russian poets, novelists, dramatists and other intellectuals in the winter of 1945–1946. During the 1950s, Berlin became an important figure outside academic life in the broader cultural life of Britain. One of his more surprising insights was that the existence of the state of Israel was a necessity for Jews everywhere. He remained a confirmed liberal Zionist and a good friend of Chaim Weizmann, the first President of Israel.

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5

"Dramatis Personae." In Human Rights in Russia. I.B.Tauris, 2015. http://dx.doi.org/10.5040/9780755620111.0009.

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"Dramatis Personae:." In Civil War in South Russia, 1918, 7–44. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8085292.6.

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7

Caute, David. "The Russian Question: A Russian Play." In The Dancer Defects, 88–116. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199249084.003.0005.

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Abstract Among Soviet dramas of the early cold war, Konstantin Simonov’s play The Russian Question (Russkii vopros) merits a chapter to itself. It was probably unique in confining its dramatis personae to American characters-not a Russian in sight. The Russian Question was the cold war play par excellence, promoted and disseminated with Stalin’s approval in thirty Soviet theatres. In Germany the Soviet-zone premie’re followed within a month of the opening night in Moscow, despite a storm of American protests, by which time German-language translations were already on sale at Berlin kiosks. Two weeks later the Soviet Embassy in London put out an English translation; news of a Stalin Prize soon followed. Production plans for Mikhail Romm’s film of the play were announced almost immediately. At the end of the year, with the play still running, Stalin, Molotov, and Voroshilov appeared in the ‘royal box’ at the Moscow Art Theatre, the ultimate seal of approval.

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8

Demkina, Svetlana M. "Plays by Gorky and German Theatre after 1945 (Based on the Material of the Museum of A.M. Gorky, A.M. Gorky Institute of World Literature of the Russian Academy of Sciences)." In Russia – Germany: Literary Encounters (after 1945), 241–49. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0683-3-241-249.

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The article is devoted to the history of stage productions of plays by Gorky in Germany from 1945 to the 1980s. The directors’ inventions and a new view of the plays by the Russian dramatist are examined on the basis of the documents preserved in the Museum of A. M. Gorky of the Institute of World Literature, RAS: photographs, posters, newspapers etc.

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9

"7. Theoretical Physics: Dramatis Personae." In Physics and Politics in Revolutionary Russia, 213–46. University of California Press, 1991. http://dx.doi.org/10.1525/9780520911475-012.

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Laird, Sally. "Tatyana Tolstaya (b. 1951)." In Voices of Russian Literature, 95–117. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198151814.003.0005.

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Abstract Tatyana Tolstaya was born in Leningrad into one of the city ‘s most distinguished lit-erary families. She is the great-grandniece of Lev Tolstoy and the granddaughter of the writer, dramatist, and poet Aleksei Nikolayevich Tolstoy (1883–1945), best known for his trilogy about the Revolution, Road to Calvary,* begun while he was temporarily an émigré in Berlin. Though he had initially been an outspoken oppon-ent of Bolshevism, Aleksei Tolstoy returned to the Soviet Union in 1923 and became one of the very few Russians to maintain a nobleman ‘s life-style while successfully demonstrating his ‘loyalty ‘ to the new state: so successfully, indeed, that he was appointed Chairman of the USSR Writers ‘ Union after Gorky ‘s death and won several Stalin Prizes for his work. Aleksei ‘s wife was the poet Natalya Krandiyevskaya, herself from a literary family, while Tolstaya ‘s maternal grandfather, as she relates in the interview that follows, was the distinguished translator Mikhail Lozinsky, whose friends included the poets Anna Akhmatova and Nikolai Gumilyov.

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Conference papers on the topic "Russian Dramatists"

1

Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.

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