Relevant bibliographies by topics / Soviet theatre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Soviet theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Soviet theatre"

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Fowler, Mayhill C. "What Was Soviet and Ukrainian About Soviet Ukrainian Culture? Mykola Kulish’sMyna Mazailoon the Soviet Stage." Nationalities Papers 47, no. 3 (May 2019): 355–65. http://dx.doi.org/10.1017/nps.2019.12.

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AbstractIn the Soviet Union theatre was an arena for cultural transformation. This article focuses on theatre director Les Kurbas’ 1929 production of playwright Mykola Kulish’sMyna Mazailo, a dark comedy about Ukrainianization, to show the construction of “Soviet Ukrainian” culture. While the Ukrainian and the Soviet are often considered in opposition, this article takes the culture of the Ukrainian Soviet Socialist Republic seriously as a category. Well before Stalin’s infamous adage “national in form and socialist in content,” artists like Kulish and Kurbas were engaged in making art that was not “Ukrainian” in a generic Soviet mold, or “Soviet” art in a generic “Ukrainian” mold, but rather art of an entirely new category: Soviet Ukrainian. Far from a mere mouthpiece for state propaganda, early Soviet theatre offered a space for creating new values, social hierarchies, and worldviews. More broadly, this article argues that Soviet nationality policy was not only imposed from above, but also worked out on the stages of the republic by artists, officials, and audiences alike. Tracing productions ofMyna Mazailointo the post-Soviet period, moreover, reveals a lingering ambiguity over the content of culture in contemporary Ukraine. The state may no longer sponsor cultural construction, but theater remains a space of cultural contestation.
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Tomoff, Kiril. "Of Gypsy Barons and the Power of Love: Operetta Programming and Popularity in the Postwar Soviet Union." Cambridge Opera Journal 30, no. 1 (March 2018): 29–59. http://dx.doi.org/10.1017/s0954586718000083.

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AbstractThis article utilises a nearly unique collection of material (theatre box office data) and the reports of Soviet bureaucrats charged with overseeing musical theatre to analyse the programming and reception of operetta performed in the Soviet Union from 1945 to 1948, a period during which Soviet society shifted from world war to Cold War, and music, musical life and musical theatres underwent ideological scrutiny and endured intervention by the Communist Party’s Central Committee. It argues that although official programming and audience preferences were rarely in sync, their disjuncture followed a surprising pattern according to which Russian operetta-going audiences proved both more conservative and more patriotic than those responsible for the programming in operetta theatres. Marked differences between this Russian pattern and patterns observable in other republics – Ukraine gets particular attention – also attest to the diversity of taste and official ambitions for musical programming in the postwar Soviet Union.
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Cook, Joe. "Blaho Uhlàr and the Slovak Theatre of Crisis." New Theatre Quarterly 8, no. 30 (May 1992): 178–86. http://dx.doi.org/10.1017/s0266464x0000662x.

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When we published Barbara Day's introduction to modern theatre in Czechoslovakia in NTQ7 (1986), we could little imagine that by the turn of the decade we would be carrying regular reports from Eastern Europe on the effects of the disintegration of the Soviet empire upon the theatres and theatre people of the former satellite states. In NTQ27 (1991), we included an overview of recent developments in the Polish theatre – following this up in NTQ28 with a detailed feature on the work of a single company in the new era, Gardzienice. Here, we similarly complement Premsyl Rut's report in NTQ27 on ‘The State of the New Czech Theatre’ with a study of the work of one of the directors who, like so many people in the arts, served as a herald to the ‘velvet revolution’ – Blaho Uhlár, whose career began, in the difficult years after the Soviet invasion of 1968, with the Theatre for Children and Youth, and whose most recently completed production with the Divadle Alexandra Duchnovic company, Nono, visited the Chapter Arts Centre in Cardiff during the city's festival last October.
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Lindovská, Nadežda. "Ján Jamnický’s Ten Days with Soviet Theatre." Slovenske divadlo /The Slovak Theatre 65, no. 2 (June 27, 2017): 121–41. http://dx.doi.org/10.1515/sd-2017-0008.

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Abstract Art was perceived in the Soviet Union as a part of ideology and propaganda aimed not only at the domestic environment but also at foreign countries. State cultural policy was presented through a series of magnificent meetings and shows, to which also participants from abroad were invited. In the 1930s Moscow was the venue of several theatre festivals, which were attended by Czechoslovak theatre makers. In 1936 it was also attended by Ján Jamnický, the novice theatre director of the Slovak National Theatre in Bratislava. The Slovak theatre maker saw a lot of inspiring productions and experienced the initial period of a campaign aimed at suppressing the freedom of artistic expression. He became a witness to the twilight of Russian theatre avant-garde. The present paper describes the theatre experiences of Ján Jamnický in the Soviet Union and their impact on his life, production and style of direction. It points to a series of overlooked facts which are necessary for a complete understanding of the historical and artistic context of Soviet theatre and Jamnický’s journey.
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Matvieieva, Kateryna. "REPERTOIRE TRADITION OF THE UKRAINIAN DRAMA THEATRE: HISTORICAL AND CULTURAL ASPECT." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 71–84. http://dx.doi.org/10.31866/2410-1915.22.2021.235896.

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The purpose of the article is to find out the repertoire traditions of Ukrainian theatre from the first professional theatre to the present day. The research methodology applies an interdisciplinary approach. In particular, the principle of historicism is an opportunity to trace the change in the repertoire policy of theatres under the influence of sociopolitical circumstances. Structural-functional and macrodynamic methods to study the theatre at different stages of development are methods of analysis and synthesis used to identify the main artistic phenomena and trends in theatrical activities. Scientific novelty. Based on the analysis of the repertoire plays of five Ukrainian theatres: the Theatre of Coryphaei, Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre, Taras Shevchenko Dnipro National Academic Ukrainian Music and Drama Theatre, Ivan Franko National Academic Drama Theatre, Maria Zankovetska Theatre — trends in the development of the repertoire policy of the Ukrainian theatre are identified, the influence of traditions and society on the work of leading Ukrainian theatre figures is justified; the boundaries of the concept of “repertoire traditions” are expanded. Conclusions. The article examines the peculiarities of the development of Ukrainian theatre from the creation of the first professional theatre in Ukraine to the present day, highlights the impact of repertoire censorship. Five stages of the formation of the repertoire traditions of Ukrainian drama theatres are described: the period of the birth of Ukrainian drama (I. Kotliarevsky); further repertoire traditions in Tsarist Russia era; the formation of modern Ukrainian theatre (Les Kurbas); the period of World War II and post-war times, when there were attempts to transform the Ukrainian theatre into a Soviet one. It was found out that a unique feature of modern Ukrainian theatre is performances on second stages, one-person production, and the use of advanced technology.
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Arbatova, Maria. "Feminist Theatre in the Soviet Union." New Theatre Quarterly 7, no. 27 (August 1991): 284–86. http://dx.doi.org/10.1017/s0266464x00005777.

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Mally, Lynn. "The Americanization of the Soviet Living Newspaper." Carl Beck Papers in Russian and East European Studies, no. 1903 (January 1, 2008): 44. http://dx.doi.org/10.5195/cbp.2008.140.

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This article examines the migration of a Soviet agitational theatrical form from Russia to the United States in the 1920s and 1930s. The Soviet living newspaper, or zhivaia gazeta, began during the Russian Civil War as a method to act out a pro-Soviet version of the news for mainly illiterate Red Army soldiers. During the 1920s, it evolved into an experimental form of agitprop theater that attracted the interest of foreigners, who hoped to develop new methods of political theater in their own countries. In the United States, the living newspaper format was first adopted by American communist circles. Eventually, the depression-era arts program, the Federal Theatre Project (FTP), incorporated an expanded and altered version as part of its many offerings. Living newspapers eventually became one of the FTP’s most celebrated and criticized performance genres. The political content of American living newspapers was a major factor in the government’s elimination of the FTP in 1939.
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Golovlev, Alexander. "Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s." New Theatre Quarterly 35, no. 04 (October 8, 2019): 312–24. http://dx.doi.org/10.1017/s0266464x19000368.

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In this article Alexander Golovlev offers a comparative examination of the theatre policies of Fascist Italy and Stalinist Soviet Union. He argues that, although the two regimes shared parallel time frames and gravitated around similar institutional solutions, Italian Fascism was fundamentally different in its reluctance to destroy the privately based theatre structure in favour of a state theatre and to impose a unified style, while Stalin carried out an ambitious and violent campaign to instil Socialist Realism through continuous disciplining, repression, and institutional supervision. In pursuing a nearly identical goal of achieving full obedience, the regimes used different means, and obtained similarly mixed results. While the Italian experience ended with the defeat of Fascism, Soviet theatres underwent de-Stalinization in the post-war decades, indicating the potential for sluggish stability in such frameworks of cultural-political control. Alexander Golovlev is Research Fellow at the International Centre for the History and Sociology of World War II and Its Consequences, National Research University, Higher School of Economics / Fondation de la Maison des Sciences de l’Homme, and ATLAS Fellow, Centre d’histoire culturelle des sociétés contemporaines, Université de Versailles-Saint-Quentin-en-Yvelines/ Université Paris-Saclay. His most recent publications include ‘Sounds of Music from across the Sea: Musical Transnationality in Early Post-World-War-II Austria’, in Yearbook of Transnational History 1 (2018) and ‘Von der Seine an die Salzach: die Teilnahme vom Straßburger Domchor an den Salzburger Festspielen und die französische Musikdiplom atie in Österreich während der alliierten Besatzungs zeit’, Journal of Austrian Studies (2018). He is currently working on the political economy of the Bolshoi theatre under Stalinism.
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Kitamura, Yu, and D. Savelli. "Justified exoticism, or, Kabuki Theatre touring the Soviet Union in 1928." Voprosy literatury, no. 5 (December 19, 2018): 39–75. http://dx.doi.org/10.31425/0042-8795-2018-5-39-75.

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The article offers a detailed account of the first tour of a Kabuki troupe in theSoviet Union, commenting on its political and cultural significance. Kabuki performers were invited to theUSSRfor primarily political reasons: establishing contact between the two governments came first, and the tour was regarded as a success for Soviet diplomacy rather than an achievement of Japanese culture. However, the political hype soon subsided and more people realized the extraordinary significance of this tour for the history of the theatre. The tour became a nation-wide event. The authors cite numerous newspaper reviews of the Kabuki plays, as well as correspondence between politicians, who had anticipated a flop, but were amazed at the reaction of Soviet audiences to this Japanese ‘exoticism’ because the tour had been mostly targeted at the Japanese community. The latter saw the tour as a sign of the Soviets’ readiness for peaceful coexistence withJapan.
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SIEMENS, ELENA. "Spaces of Performance in the New Moscow: the Case of Theatre Square." Theatre Research International 30, no. 3 (October 2005): 223–36. http://dx.doi.org/10.1017/s0307883305001471.

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Combining critical analysis, personal accounts, and original photography, this essay discusses Theatre Square, Moscow's most prominent theatrical destination, and examines the dramatic changes it underwent in the Soviet era, as well as after the demise of the Soviet Union. In following Yury Lotman's notion of the ‘ensemble’, I argue that the recent reconstruction of the garden in front of the Bolshoi Theatre created a particular set of conditions under which the difference between the ‘diversely encoded’ landmarks of Theatre Square became less relevant. The article also looks into whether the new and newly reconstructed gardens and parks of post-Soviet Moscow detract from, as some critics have suggested, or on the contrary contribute to, the act of remembering the past.
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Dissertations / Theses on the topic "Soviet theatre"

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Kleberg, Lars. "Theatre as action : Soviet Russian avant-garde aesthetics /." Houndsmills, Basingstoke, Hampshire : Macmillan Press, 1993. http://www.loc.gov/catdir/enhancements/fy0808/95184875-b.html.

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Tougas, Ramona. "Performing Work: Internationalism and Theatre of Fact Between the U.S.A. and the U.S.S.R." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20525.

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Title: Performing Work: Internationalism and Theatre of Fact between the U.S.A. and the U.S.S.R. Theatre’s public, and yet intimate emotional ability to demarcate extraordinary occurrences and provoke communal escalation make it useful for internationalist organizing. “Performing Work: Internationalism and Theatre of Fact between the U.S. and the U.S.S.R.,” traces 1920s and 1930s leftist theatre through transnational circuits of political and aesthetic dialogue. I argue that these plays form a shared lexicon in response to regional economic and political challenges. Sergei Tretiakov’s Rychi, Kitai/Roar, China! (1926); Hallie Flanagan and Margaret Ellen Clifford’s Can You Hear Their Voices? (1931); Langston Hughes’s Scottsboro Limited (1931); and Hughes, Ella Winter, and Ann Hawkins’s Harvest (1933-34) constitute the dissertation’s primary texts. “Performing Work” begins by reading the Soviet play Roar, China! as a work of theatre of fact which performs conflicted internationalisms in plot, and in its politicized production history. The middle chapters track revisions to Soviet factography and internationalism by three American plays in light of the Depression, racism, feminism, and labor disputes. The study considers the reception of Russian and English translations, as well as figurative translations across cultural contexts. Performance theory and literary history support this analysis of dramatic forms—embodied, temporal, and textual. I narrow my study to four plays from the United States and Soviet Union to argue for the tangible impact of ephemeral contact and performance in order to resist polarizing simplification of relationships between these two countries. The three central figures of this study, Sergei Mikhailovich Tretiakov (1892-1937), Hallie Flanagan (1890-1969), and Langston Hughes (1909-1967) each had either direct or indirect contact with one another and with each other’s theatrical work. This study is primarily concerned with the transnational circulation of politically significant dramatic form and only secondarily occupied with verifying direct influence from one author to another. The four plays participate in transnational dialogue on working conditions, cultural imperialism, racist legal systems, and gender inequality. This dissertation includes previously published material.
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Kalinina, Ekaterina. "Mediated Post-Soviet Nostalgia." Doctoral thesis, Södertörns högskola, Medie- och kommunikationsvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-24576.

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Post-Soviet nostalgia, generally understood as a sentimental longing forthe Soviet past, has penetrated deep into many branches of Russian popular culture in the post-1989 period. The present study investigates how the Soviet past has been mediated in the period between 1991 and 2012 as one element of a prominent structure of feeling in present-day Russian culture. The Soviet past is represented through different mediating arenas – cultural domains and communicative platforms in which meanings are created and circulated. The mediating arenas examined in this study include television, the Internet, fashion, restaurants, museums and theatre. The study of these arenas has identified common ingredients which are elements of a structure of feeling of the period in question. At the same time, the research shows that the representations of the past vary with the nature of the medium and the genre. The analysis of mediations of the Soviet past in Russian contemporary culture reveals that there has been a change in the representations of the Soviet past during the past twenty years, which roughly correspond to the two decades marked by the presidencies of Boris Yeltsin in the 1990s and of Vladimir Putin in the 2000s (including Dmitrii Medvedev's term, 2008–2012). The critical and reflective component that was present in representations of the Soviet past in the 1990s has slowly faded away, making room first for more commercial and then for political exploitations of the past. Building on Svetlana Boym's conceptual framework of reflective and restorative nostalgia, the present study provides an illustration of how reflective nostalgia is being gradually supplanted by restorative nostalgia. Academic research has provided many definitions of nostalgia, from strictly medical explanations to more psychological and socio-cultural perspectives. The present study offers examples of how nostalgia functions as a label in ascribing political and cultural identities to oneself and to others, creating confusion about the term and about what and who can rightly be called nostalgic.
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Shapiro, Ann Katherine. "In defiance of censorship : an exploration of dissident theatre in Cold War Poland, Czechoslovakia, and the German Democratic Republic." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7005/.

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This thesis explores dissident theatre in East Central Europe during the second half of the Cold War (1964-1989). Contextualised within the discussion of individual theatrical and performance cultures and practices in Poland, Czechoslovakia, and The German Democratic Republic, it examines how theatre was used to subvert the dominant ideologies and dissent from the status quos in these countries. It establishes a framework that addresses the divergences between Anglo-American political theatre and Eastern Bloc dissident theatre, and discusses the necessity of considering the work of subcultural and subversive artists when analysing work of this kind. The core chapters discuss the theatrical and dramatic techniques, and the intention of the artists with regards to the work itself and to audience interpretation and response in the plays and performances of Václav Havel (Czechoslovakia), Theatre of the Eighth Day (Poland) and Autoperforationsartisten (East Germany). Further, these chapters demonstrate the significant differences in the ways dissident theatre and performance was conceptualised and staged. This thesis also analyses similarities in the theoretical and philosophical motivations for the work of the artists, and the development of ‘second’ or ‘parallel’ societies as a result of the performances.
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Impara, Christine Louise. "To Love is Human: Leonid Zorin's A Warsaw Melody Considering Concepts Love and Fate in Russian Culture Reflected in its Theatre Tradition." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589579622867398.

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Ziada, Hazem. "Gregarious space, uncertain grounds, undisciplined bodies the Soviet avant-garde and the 'crowd' design problem." Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39599.

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This thesis proposes a theoretical framework for spatial inquiry into conditions of radical social gregariousness, through probing the crowd design problem in the work of the Soviet Rationalist architects (1920s-30s) - particularly their submissions to the Palace of Soviets competition (Moscow 1931-3). Legitimizing the crowd construct as an index of collective consciousness, and examining the early-modern revolutionary crowd's struggles for proclaiming its self-consciousness, this thesis investigates the interwar political phenomenon of amassing large crowds within buildings as a device for constructing collective social relations. The research project is divided into two main parts. The first is concerned with the crowd design problem, identifying this problem not just as the technical task of accommodating large political crowds, but as the basis of the formulation a new kind of conceptual intent in architecture. Finding the competition brief inadequate to in-depth formulation, the thesis investigates three primary sources for the crowd design problem: mass-events, revolutionary-theatre and revolutionary-art. Four components comprise the Crowd Design Problem each seeking legitimacy in the mass of crowd-bodies: i) the problem of crowd configurations; ii) challenges from the kinesthetic-space conception evoked by theatrical director V.E. Meyerhold's Biomechanics; iii) the legitimacy of 'the object' within a spatial-field of intersubjectivity; and iv) the challenge of 'seeing' crowds from immersive viewpoints counteracting representational filters of class privilege. Part-II focuses on the response of the Rationalists--one of the groups participating in the competition--to the crowd design problem. The study unearths in their designs a logic of space-making founded in the construction of inter-subjective states of consciousness radically different from prevailing individualistic conceptions of social space. To explain this logic of space-making, it proposes the notion of Gregarious Space--a theoretical framework of inquiry into what Marx called "species-being", taking radical gregariousness as the primary, generative condition of society. Besides drawing on morphological principles, social theory, historical analyses, and philosophical reflections, the notion of Gregarious Space is found to be particularly amenable to design propositions. Within the proposed theoretical framework, the Rationalists' design-proposition of curved-grounds, dense notations, textured co-visibilities and empathetic graphic conventions - all comprise a founding spatial-principle trafficking in rhythmic fields between subjects and against non-commodified objects: a principle which challenges the material domain of Productivist Constructivism as well as Historical Materialism's canonical constructs of alienation. Moreover, its uncertain kinesthetics sustain dynamic, aleatory states of consciousness which subvert prevailing disciplinary techniques of Panopticon inspection.
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Billew, Barrett Slade. "Flow-Acting: Modern Sports Science and the Preparation of Actors." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/775.

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Theatre artists and acting teachers throughout history have sought to find and create presence. By combining modern sports science with an understanding of systems of actor training I have suggested an approach that makes presence a trainable skill. My coach Dr. Scott Sonnon, developer of the Circular Strength Training System, has refined modern sports science to emphasize the development and maintenance of flow-state. This state allows the athlete to respond openly and freely within a constantly changing situation.By combining my life long study of acting with my eight years of work with Coach Sonnon I am developing a system to teach actors the skill of cultivating flow. This work will enhance the actor's presence and ability to handle the stress of performance while developing a strong, supple, and coordinated psychophysical instrument. Video of examples of the exercises can be found in the accompanying materials.This work was created in Microsoft Word 2004 for Mac.
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Smith, Austin. "The Red Scare and the BI's Quest for Power: The Soviet Ark as Political Theater." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6021.

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The Red Scare of 1919-1920 has been presented as a wave of anti-Radical hysteria that swept post WWI America; a hysteria to which the state reluctantly capitulated to by arresting Radicals and deporting those alien Radicals they deemed most threatening. This presentation, however, is ludicrous when the motivations of the state and its conservative allies are examined. The truth of the matter was that almost all of the people targeted by the Red Scare represented no significant threat to the institutions of the United States and were merely targeted for holding Leftwing ideas, or being connected to a group that did. This work examines how the Red Scare deportations were used as a performance to gain power and funding for the Bureau of Investigation and how the Bureau sought to use this performance to set itself up as the premier anti-Radical agency in the United States. While the topic of the Red Scare of 1919-1920 has been thoroughly covered, most works on the subject attempt to cover the whole affair or even address it as part of a larger study of political repression in the United States. In these accounts these authors do not see the Red Scare as a performance, which culminated in the Soviet Ark deportations, put on by the BI in order to fulfill its goal of expanding its own importance. This work addresses the events leading up to climactic sailing of the Soviet Ark, as political theater put on by the BI and its allies in order to impress policy makers and other conservative interest groups. Since the Soviet Ark deportations were the climax of the Red Scare performance, this work addresses the event as a theatrical production and follows a three act dramatic structure. It begins by exploring the cast of characters, both individuals and organizations, in the BI's performance. This is followed by an analysis of the rising action of the BI, and other reactionary groups in the evolution of their grand performance. Finally the deportations serve as the climax of the Red Scare in this performance that the BI and its allies would use to justify an expansion of their influence. Through the use of government records, biographies, and first hand accounts, this work explores the Soviet Ark deportations as the high point of the first Red Scare, the point in which the BI and its allies took their quest for expanded power the furthest before having to change course. The grand performance that the Bureau of Investigation put on is looked at, not as a response to placate others – something the BI was merely swept up in – but as a performance that they designed to meet the specific needs of their campaign to grow their agency, a performance for which they were willing to draft those that represented no real threat despite the consequences to those individuals.
M.A.
Masters
History
Arts and Humanities
History; Accelerated MA
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Decker, Pamela. "Theatrical Spectatorship in the United States and Soviet Union, 1921-1936: A Cognitive Approach to Comedy, Identity, and Nation." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371461287.

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Rogoff, Jana. "Audiovisual (a)synchrony in early Soviet sound film." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2016. http://dx.doi.org/10.18452/17533.

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Die Dissertation ist eine medienhistorische Studie über die Einführung des Tons im sowjetischen Kino, die ästhetische und technologische Veränderungen in einem weiter gefassten politischen und kulturellen Kontext interpretiert. In historischen Untersuchungen des frühen Tonfilms der letzten zehn Jahre wurde der sowjetischen Methode des asynchronen Tons häufig die verbreitetere Methode der möglichst genauen Synchronisation gegenübergestellt, wie sie von der Filmindustrie in Hollywood in den späten 1920er und frühen 1930er Jahren entwickelt wurde. Die Arbeit geht über diese zum Standard gewordene Erzählung hinaus. In einer Reihe von Fallstudien wird die Arbeit sowjetischer Filmemacher, Drehbuchautoren, Filmtheoretiker und Toningenieure analysiert, um zu demonstrieren, dass in der Sowjetunion in der Frühphase des Filmtons sehr unterschiedliche Haltungen zum Ton existierten. Die Dissertation konzentriert sich sowohl auf die Theorien des Filmtons als auch auf die Praktiken, wobei es sich unter anderem auf Dziga Vertov, Nikolai Ekk, Michail Cechanovskij und Pavel Tager bezieht. Die Begriffe „Asynchronizität“ und „Synchronizität“ haben in den Debatten über die Einführung des Tonfilms in der Sowjetunion eine zentrale Rolle gespielt. Die vorliegende Dissertation bietet die erste grundlegende Untersuchung dieser Begriffe innerhalb des Kontextes der komplexen Ursprünge des frühen sowjetischen Tonfilms.
The dissertation is a media-historical study of the emergence of sound in Soviet cinema, which links aesthetic and technological changes to the broader political and cultural context. Over the last decade, histories of early sound film have usually contrasted the Soviet method of asynchronous sound to the prevalent method of tight synchronization as it was popularized by the Hollywood film industry in the late 1920s and early 1930s. The dissertation looks beyond this standardized narrative. In a series of case studies, it analyzes the work of Soviet filmmakers, screenwriters, film theoreticians and acoustical engineers to demonstrate that many diverse approaches to sound were actually in play at the onset of film sound in the Soviet Union. The dissertation focuses on both film sound theory and practice mainly in the works of Dziga Vertov, Nikolai Ekk, Pavel Tager and Mikhail Tsekhanovsky. The terms “asynchronicity” and “synchronicity” were central in the debates about the emergence of sound film in the Soviet Union. This study provides the first thorough examination of these terms within the context of the complex origins of early Soviet sound cinema.
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Books on the topic "Soviet theatre"

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Russian & Soviet theatre: Traditions & avant-garde. London: Thames and Hudson, 1988.

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Rudnitskii, K. Russian & Soviet theatre: Tradition & the avant-garde. London: Thames and Hudson, 1988.

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Ruble, Blair A. Urals pathfinder: Theatre in post-Soviet Yakterinburg. Washington, DC: Woodrow Wilson International Center for Scholars, 2011.

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Theatre as action: Soviet Russian avant-garde aesthetics. Houndsmills, Basingstoke, Hampshire: Macmillan Press, 1993.

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The Russian theatre after Stalin. Cambridge: Cambridge University Press, 1999.

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The Americanization of the Soviet living newspaper. Pittsburgh, PA: Center for Russian and East European Studies, University Center for International Studies, University of Pittsburgh, 2008.

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Revolutionary theatre. London: Routledge, 1994.

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Meyerhold: A revolution in theatre. Iowa City: University of Iowa Press, 1995.

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Edward, Braun, ed. Meyerhold: A revolution in theatre. 2nd ed. London: Methuen, 1995.

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Meyerhold: A revolution in theatre. 2nd ed. London: Methuen, 1998.

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Book chapters on the topic "Soviet theatre"

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Macleod, Joseph. "A Farmers' Theatre." In A Soviet Theatre Sketch Book, 134–41. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228677-15.

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Macleod, Joseph. "Shakespeare on the Soviet Stage." In The New Soviet Theatre, 208–18. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-14.

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Macleod, Joseph. "The Shortcomings of the Old Theatre." In The New Soviet Theatre, 10–21. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-2.

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Macleod, Joseph. "Special Audiences." In The New Soviet Theatre, 64–84. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-6.

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Macleod, Joseph. "The Arctic Circle and Other Backward Audiences." In The New Soviet Theatre, 53–63. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-5.

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Macleod, Joseph. "“In the Steppes of Central Asia”." In The New Soviet Theatre, 36–52. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-4.

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Macleod, Joseph. "Other New Men." In The New Soviet Theatre, 149–67. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-11.

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Macleod, Joseph. "New Writers and New Plays." In The New Soviet Theatre, 168–95. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-12.

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Macleod, Joseph. "A New Attitude to the Classics." In The New Soviet Theatre, 196–207. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-13.

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Macleod, Joseph. "Alexey Popov." In The New Soviet Theatre, 125–48. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-10.

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Reports on the topic "Soviet theatre"

1

Meyer, S. Soviet Style Theater Assessments. Fort Belvoir, VA: Defense Technical Information Center, September 1989. http://dx.doi.org/10.21236/ada269791.

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Petersen, Charles C. Soviet Military Objectives in the Artic Theater and How They Might be Attained. Fort Belvoir, VA: Defense Technical Information Center, September 1986. http://dx.doi.org/10.21236/ada175359.

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Rumer, Eugene B. Soviet Assessments of the Theater Balance of Forces: The Case of the Kursk Operation. Fort Belvoir, VA: Defense Technical Information Center, December 1986. http://dx.doi.org/10.21236/ada269624.

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Partan, Matthew A. Soviet Assessments of the Theater Balance of Forces: A Case Study of the Beginning Period of War. Fort Belvoir, VA: Defense Technical Information Center, December 1986. http://dx.doi.org/10.21236/ada269702.

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You might also be interested in the extended bibliographies on the topic 'Soviet theatre' for particular source types:
Journal articles Dissertations / Theses Books
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