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Academic literature on the topic 'Soviet Dramatists'
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Journal articles on the topic "Soviet Dramatists"
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Kirillova, I. Yu. "CHUVASH DRAMA ABOUT THE GREAT PATRIOTIC WAR." Bulletin of Udmurt University. Series History and Philology 31, no. 3 (July 13, 2021): 603–7. http://dx.doi.org/10.35634/2412-9534-2021-31-3-603-607.
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This article is devoted to the analysis of Chuvash plays dedicated to the Great Patriotic War; reveals the peculiarities of their poetics and problems, shows conflict situations that reveal heroic characters. The main attention is paid to the analysis of the plays by N. Aizman, N. Terentyev, M. Yuhma, A. Vasiliev, M. Belov, N. Sidorov, and others. They are united by the themes of courage, heroism, the feat of Soviet people on the battlefield and in the rear. Whereas in the early decades dramatists focused their attention directly on combat events, modern war plays are filled with deep moral content, their plots are distinguished by the sharpness of moral choices, revealing the moral and ethical aspects of the individual.
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Eremenko, E. D. "«Deputy of the Baltic»: dramatic representation of the image of an intellectual in Soviet culture." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 33–38. http://dx.doi.org/10.30725/2619-0303-2020-4-33-38.
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Theatrical and cinematic future of so-called by «revolutionary tale» by L. Rakhmanov is unique by its establishment. Both script and screenplay went through several editions. The result contains typical signs of soviet propaganda of 1930s, in all their contradictory continuity. Artistical research is united with soviet agitation, gravity of dramaturgical conflict is united with gravity of philosophical conflict. Main character, professor Polezhaev, is good representative of prerevolutionary intelligentsia, positively accepts changes after 1917. His opinion becomes the reason of occurrence of two groups, supporters and opponents of main character. Leonid Rakhmanov’s libretto had four varieties: staged one («Hectic senility») and two screenplays. All of them are different from “Baltic deputy” (1937, ed. by I. Hejfic and A. Zarchi). Analysis of plot evolution, from the scenario idea to the finished fi lm, is important for the large amount of people, from the cinephiles to the experts such as dramatists, editors and directors. Authors’ ways of «Polezhaev’s case» creation (on the stage, in scripts and fi lm) are significant. Theme of intellectual who lives in eras’ breaking point and confidently declares his honest citizenship is still important.
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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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Diamond, Catherine. "The Pandora's Box of ‘Doi Moi’: the Open-Door Policy and Contemporary Theatre in Vietnam." New Theatre Quarterly 13, no. 52 (November 1997): 372–85. http://dx.doi.org/10.1017/s0266464x00011532.
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In the 1990s, Vietnamese traditional theatre has seen its popular base eroded by foreign videos, television imports, and the films that have poured into the country since the advent of the ‘open door’ policy, or doi moi. As that policy is primarily economic in purpose, the advantages offered to the national culture have been questionable. The traditional forms here discussed by Catherine Diamond – tuong, hat boi, and cheo – have lost much of their status in the urban areas, though still popular in the countryside. However, the forms which address contemporary issues – ‘renovated theatre’ (cai luong), spoken theatre (kich noi), and, most recently, ‘mini-theatre’ (san khau nho) – play to significant numbers in Saigon and Hanoi, often employing a distinctive vein of satirical humour. Though trained in the academies of the Soviet Union and Eastern Europe, Vietnamese dramatists have now broken away from the socialist realist ideal and are looking towards the West and China for new artistic developments. The author of this survey, Catherine Diamond, is a dancer and drama professor in Taiwan. She has recently published Sringara Tales, a collection of short stories about the traditional dancers in Southeast Asia.
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Skalnaya, Yulia A. "“Pantaloon” and “Columbine” in the Land of the Soviets: Bernard Shaw and Nancy Astor’s Visit to the USSR in 1931." Literary Fact, no. 32 (2024): 292–319. http://dx.doi.org/10.22455/2541-8297-2024-32-292-319.
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The research is dedicated to the well-known visit of the Irish dramatist Bernard Shaw and the British MP Lady Nancy Astor to the USSR in 1931. However, it seeks to avoid the format of a clichéd observation of commonly known facts concerning their stay in the Land of the Soviets and aims to concentrate on previously unknown circumstances of the preparation of that trip organised by representatives of the People’s Commissariat for Foreign Affairs and diplomats of the Soviet Embassy in London, on the one hand, and the media struggle evoked by that visit within the Soviet and the British press. The novelty of the research is provided by the use of numerous archival documents (AVP RF, RGALI) as well as quoting Bernard Shaw’s private correspondence and his friend Beatrice Webb’s diaries that have not been translated into Russian. The methodological foundation of this article is built upon the biographical and cultural-historic approaches; it also employs narrative techniques in recreating the historical background of Shaw’s visit, and content analysis in commenting on the media publications, and methods of archival research per se. Having considered the abovementioned documents, one can conclude that despite Shaw’s avid interest in Russia, his visit there was to a large extent spontaneous, which, together with Nancy Astor’s unpredictable escapades, caused considerable difficulties to the Soviet officials. Nevertheless, the variety of experiences offered to the British guests as well as the satisfaction of both reasonable and whimsical requests made by the dramatist managed to produce a favourable impression on the company and lead to Shaw’s companions giving generally positive feedback of the trip to the USSR whereas Shaw himself exalted in rave reviews. As a result, the victory scored by the Soviet soft power instigated a deluge of publications in the British media that aimed to discredit Shaw and Lady Astor as central figures of the trip. However, it cannot be said that those angry and even harsh commentaries caused any serious damage to their reputation or influenced their opinions of the USSR at the time.
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Nicholson, Steve. "Censoring Revolution: the Lord Chamberlain and the Soviet Union." New Theatre Quarterly 8, no. 32 (November 1992): 305–12. http://dx.doi.org/10.1017/s0266464x00007089.
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In two earlier articles, Steve Nicholson has explored ways in which the the right-wing theatre of the 1920s both shaped and reflected the prevailing opinions of the establishment – in NTQ29 (February 1992) looking at how the Russian Revolution was portrayed on the stage, and in NTQ30 (May 1992) at the ways in which domestic industrial conflicts were presented. He concludes the series with three case studies of the role of the Lord Chamberlain, on whose collection of unpublished manuscripts now housed in the British Library his researches have been based, in preventing more sympathetic – or even more objective – views of Soviet and related subjects from reaching the stage. His analysis is based on a study of the correspondence over the banning of Geo A. DeGray's The Russian Monk, Hubert Griffith's Red Sunday, and a play in translation by a Soviet dramatist, Sergei Tretiakov's Roar China. Steve Nicholson is currently Lecturer in Drama at the Workshop Theatre of the University of Leeds.
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Gamsa, Mark. "Sergei Tret'iakov's Roar, China! between Moscow and China." Itinerario 36, no. 2 (August 2012): 91–108. http://dx.doi.org/10.1017/s0165115312000587.
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The writer, poet and dramatist Sergei Tret'iakov was a central figure of the early Soviet literary and artistic avant-garde. Born in 1892 in Kuldiga, a town in what is now Latvia and was then the Governorate of Courland, one of the three Baltic provinces of the Russian empire, he was educated in prerevolutionary Riga and Moscow. Fluent also in Latvian and German, he started out as a poet in Russian and came under the influence of futurism when living in Vladivostok in 1919. During the Russian Civil War, Tret'iakov spent several months in Harbin, Tianjin, and Beijing in 1920 and 1921, and he returned to China as a teacher of Russian at Peking University between 1924 and 1925. The mid-1920s were also his most productive period as a writer for the theatre. Back in the Soviet Union, he went on to write experimental documentary prose, reportage and film scenarios while making radical statements in literary theory. He collaborated closely with the poet Vladimir Mayakovsky (1893–1930), the cinema director Sergei Eisenstein (1898–1948) and the theatre director Vsevolod Meyerhold (1874–1940), and as a translator and critic he brought the plays and poetry of Bertolt Brecht (1898–1956) to Soviet readers.
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Tunç, Aslı. "A woman scientist in pursuit of truth: A rising trend of representation with Chernobyl." Journal of Popular Television 9, no. 3 (October 1, 2021): 377–90. http://dx.doi.org/10.1386/jptv_00063_1.
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Sky/HBO’s miniseries Chernobyl (2019) tells a human story behind the catastrophic disaster that had begun with an explosion at the Chernobyl Nuclear Power Plant in Soviet Ukraine on 26 April 1986. Over the course of five one-hour episodes, Chernobyl dramatizes the incidents that paved the way to the massive explosion, such as the Cold War era, the dysfunctional Soviet bureaucracy and the power issues among the male political and scientific establishment. The highlight of the miniseries is female agency being the symbol of scientific approach, rational thought and common sense. This article analyses Chernobyl and the character of a Belarusian nuclear physicist named Ulyana Khomyuk (played by Emily Watson) by focusing on women’s representation on popular television in science, technology, engineering and mathematics (STEM) fields. It also questions whether Chernobyl is one of the very few examples in popular culture of changing patterns of women’s representation in STEM.
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Satkauskytė, Dalia. "The Sociability of Janina Degutytė’s Poetry." Colloquia 41 (December 20, 2018): 72–88. http://dx.doi.org/10.51554/col.2018.28671.
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Janina Degutytė (1929–1990) has gone down the history of Lithuanian literature as a poet who has continued the lyrical and neo-romantic tradition of Salomėja Nėris (1904–1944), whose worldview is dominated by the intimate relationship between the individual and the world, humans and nature, and, in late poetry, the dramatics resulting from her personal life story. The article raises the questions of whether one could consider such personal lyrical poetry as sociable, or whether it is possible to examine for the seal of problems, conflicts, and imagination characteristic of the period when Degutytė created her works – the Soviet era.The stimulus and theoretical basis for this research was Theodor Adorno’s article On Lyric Poetry and Society. Social assumptions for lyrical poetry, as described by Adorno, are considered the first and most abstract layer of sociability. The author discovers the other two layers of sociability of Degutytė’s lyrical poetry by doing sociocritical analysis, where she compares the official Soviet discourse with the poetic text by observing the ways in which poetry reacts to the sociolectic situation of the Soviet era. She considers the second layer of sociability to be the traces of the Soviet discourse in a poem, such as the speaker’s enthusiasm, maximalism, cosmic perspective of the living world, and the contraposition of spirituality and materiality. The third layer is considered to be the very situation of reciting the poetry, whose basis is an intimate appeal to the other. The Soviet reader perceived it as an alternative to Soviet rhetoric.In her late poetry, along with the dramatic reflection on the relationship between mother and daughter, the poet develops the theme of social sensitivity, and intensifies her effort to give voice to the mutes of society.
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Lunacharsky, Anatoly. "‘The Last Great Bourgeois’: on the Plays of Henrik Ibsen." New Theatre Quarterly 10, no. 39 (August 1994): 223–41. http://dx.doi.org/10.1017/s0266464x00000531.
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The death of Ibsen in 1906 prompted a number of appraisals of the dramatist by Marxist critics, notably Clara Zetkin, Henrietta Roland-Holst, and George Plekhanov. The most extended of these was Anatoly Lunacharsky's article, ‘Ibsen and the Petty Bourgeoisie’, published in three parts in Obrazovanie, St. Petersburg, Nos. 5–7 (June-August 1907). The central section, ‘Ibsen's Dramas’, is printed below. Born in the Ukraine in 1875, Lunacharsky became a Marxist in his teens and joined the Moscow Social Democrat group in 1899. Arrested for his political activities, he was exiled to Northern Russia, where he wrote his first theoretical treatise, An Essay in Positive Aesthetics. In 1903 he joined the Bolsheviks, but broke with Lenin after 1905, having identified himself with the so-called ‘God-seeking’ tendency. Following the fall of Tsarism in 1917 Lunacharsky rejoined the Bolsheviks, and after the October Revolution he was appointed to Lenin's first ‘Cabinet’ as Commissar for Enlightenment, a post embracing the arts and education. Exceptionally, he retained this position up until 1930, when he became one of the Soviet Union's two representatives to the League of Nations. He died in 1933, shortly before he was due to become Soviet ambassador to Spain. Lunacharsky's published output runs to some 1,500 articles, embracing philosophy, aesthetics, and theoretical and critical writings on all the arts. He also wrote a number of plays, including Faust and the City (1918) and Oliver Cromwell (1920). He was an intellectual of wide erudition and acute critical perception, balancing respect for the old and the traditional with encouragement for the new and the inconoclastic. As Commissar for Enlightenment, he did much to defend the early avant garde's freedom to experiment, making the Soviet Union a power-house of artistic innovation.
Books on the topic "Soviet Dramatists"
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Makhova, M. "Postvampilovt͡sy," ili, "Novai͡a volna": Nauchnyĭ doklad. Khabarovsk: Author, 1990.
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Beau Monde on Empire's Edge: State and Stage in Soviet Ukraine. University of Toronto Press, 2023.
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Beau Monde on Empire's Edge: State and Stage in Soviet Ukraine. University of Toronto Press, 2017.
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Fowler, Mayhill. Beau Monde on Empire's Edge: State and Stage in Soviet Ukraine. University of Toronto Press, 2018.
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Givens, John. Shakespearean Tragedy in Russia. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.46.
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Shakespeare’s place in Russian culture is traced from the eighteenth century, when Catherine the Great herself adapted two of the dramatist's plays, to present day productions responding to the cultural and political realities of Putin’s Russia. Particular attention is paid to Shakespeare’s rise to prominence among the writers of Russian Romanticism; to Shakespeare’s influence on the father of Russian literature, Alexander Pushkin; to his dominance in mid-nineteenth century Russian culture, when a complete edition of his plays was translated into Russian and writers wrote stories based on Shakespearean themes; to modernist takes on Shakespeare at the turn of the twentieth century; and on to the improbable appropriation of Shakespeare for the cause of revolution by the young Soviet state.
Book chapters on the topic "Soviet Dramatists"
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Nanney, Lisa. "Soviet Film." In John Dos Passos and Cinema, 63–74. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954873.003.0005.
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Dos Passos’s adaptation of cinematic methods to literary style beginning in the mid-1920s emerged further in his work after he visited Russia in 1928. Tepid public and critical response to New Playwrights dramas motivated Dos Passos to explore how the revolutionary state-supported Russian theater and film productions had engaged the masses, united them politically, and produced groundbreaking artists. In dramatist Meyerhold’s avant-garde theater, Constructivist industrial sets and “biomechanical” acting techniques created successful dramas about and for workers. Dos Passos observed that cinematic innovations emerged from the Soviet-controlled studios despite the state’s use of film as its primary tool of mass ideological education. Though Lenin, then Stalin increasingly controlled film productions and artists, Soviet filmmakers nonetheless evolved theories of montage that became foundational in filmmaking and informed Dos Passos’s modernist novels and his 1936 independent film treatment “Dreamfactory,” with its meta-filmic exposé of the Hollywood film industry. In particular, these works registered the formal and conceptual innovations of two directors: Eisenstein, whose films combined fiction and history to effect political action through art; and Vertov, whose films acknowledged the artist’s vision as controlling the camera “eye” and who embedded in one short film an auto-critique of movie-making.
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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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Belau, Linda, and Ed Cameron. "Wounds of the Past: Andrei Tarkovsky and the Melancholic Imagination." In ReFocus: The Films of Andrei Tarkovsky, 178–94. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474437233.003.0011.
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This chapter provides a psychoanalytically-inflected analysis of the complex nature of Tarkovsky’s melancholia as the predominant affect in his films, functioning as a poetic critique of the reality principle, eschewing our symbolic separation from the Thing. Engaging with the theories of melancholia developed by Sigmund Freud, Jacques Lacan, and Julia Kristeva, the authors trace its various configurations in Tarkovsky’s last three Soviet films: Solaris (1972) exhibits the melancholic clinging to the impossible past brought about by narcissistic withdrawal and interminable mourning; Mirror (1974) dramatizes the impossible return to a pre-symbolic childhood; the story of Stalker (1979) circulates around the unknown that grounds the world of the melancholic.
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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.