To see the other types of publications on this topic, follow the link: Soviet theatre.
Journal articles on the topic 'Soviet theatre'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Soviet theatre.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full text
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Gayduk, V. L. "VSEVOLOD MEYERHOLD’S VIEWS ON THE SOVIET THEATRE." Вестник Пермского университета. История, no. 2(37) (2017): 55–62. http://dx.doi.org/10.17072/2219-3111-2017-2-55-62.
Full text
12
Saro, Anneli. "Mobility and Theatre: Theatre Makers as Nomadic Subjects." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 90. http://dx.doi.org/10.7146/nts.v27i1.24242.
Full textAbstract:
This article discusses the pros and cons of theatrical mobility, investigating situ- ations where theatre is breaking its traditional practices of being local and urban by becoming mobile, international and rural. The main features in this context are guest performances at home and abroad, the importation of guest directors, performers, designers et cetera, and finally, site-specific and open-air productions. The structure of the analysis is based on these features, partly derived from the historical development of theatre but partly also from the aim of contrary thinking, insisting that contrary to the widespread assumption of nomadism as something indigenous or postmodern, nomadic attitudes can also be detected in quite traditional forms of theatre making and living. While touring at home and abroad provides opportunities for theatre makers to practice nomadic life style, summer theatre creates an opportunity for spectators to experience nomadism in more local spaces. The above mentioned features are analysed in the context of Estonian theatre, drawing occasional parallels with the neighbouring country of Finland. Each section goes through three periods of Estonian theatre history; 1) the period before the Second World War when theatres belonged to societies; 2) the period between 1940 and 1991 when Estonia was a part of the Soviet Union and all theatrical activities were subject to state control; 3) the period of independence and globalization. Since each period had a different imprint on theatrical mobility, the phenomenon will be investigated in relation to the political, social and cultural contexts, using Bruno Latour’s concept of actor-network-theory as a methodological tool.
13
DIAMOND, CATHERINE. "The Palimpsest of Vietnamese Contemporary Spoken Drama." Theatre Research International 30, no. 3 (October 2005): 207–22. http://dx.doi.org/10.1017/s030788330500146x.
Full textAbstract:
Unlike most Southeast Asian theatres, Vietnam has created a sizeable corpus of scripted spoken dramas that continue to be popular in performance with urban audiences. Initially influenced by French classicism and Ibsenist realism, the Vietnamese spoken drama, kich noi, very quickly adapted to local social realities and survives by readily incorporating topical subjects. While keeping abreast of current social issues, the theatre nonetheless makes use of its multi-cultural heritage, and in any given modern performance one can see the layers of influence – traditional Sino-Vietnamese hat boi/tuong; Vietnamese cheo theatre, Cham dance, French realism, Soviet constructivism and socialist realism, and most recently, western performance art. The Vietnamese playwrights, set designers, directors, and actors have combined aspects of the realistic theatre with the conventions of their suppositional traditional theatre to come up with a hybrid that is uniquely Vietnamese. It is argued that these manifold layers should be regarded as a kind of palimpsest rather than just as pastiche.
14
Shevtsova, Maria. "The Valery Fokin Festival at the Aleksandrinsky Theatre, St Petersburg." New Theatre Quarterly 25, no. 1 (February 2009): 44–51. http://dx.doi.org/10.1017/s0266464x09000049.
Full textAbstract:
One of Russia's foremost theatre directors, Valery Fokin graduated from the Shchukin School at the Vakhtangov theatre in Moscow. At the Sovremennik and Yermolova theatres, of which he was the artistic director, he staged a wide repertoire that included contemporary writers (Mikhail Roshchin, Aleksandr Vampilov, Viktor Rozov), Soviet classics (Gorky), Russian classics (Gogol, Dostoevsky), and, from the international arena, Nabokov and Albee. He taught at the renowned school GITIS from 1975 to 1979 and in Krakow and Tokyo in 1993 and 1994. He has increasingly directed abroad, including Poland, Hungary, France, Germany, Japan, and Korea. In this article Maria Shevtsova focuses on his most recent productions at the Aleksandrinsky Theatre, where he has become a St Petersburg director while maintaining his professional links at the Meyerhold Centre in Moscow, which he founded in 1991 – aptly, since it is with Meyerhold that Fokin's name is most closely connected. Maria Shevtsova is co-editor of New Theatre Quarterly and author of Dodin and the Maly Drama Theatre: Process to Performance (Routledge, 2004).
15
Saro, Anneli. "Von Krahl Theatre revisiting Estonian cultural heritage." Sign Systems Studies 33, no. 2 (December 31, 2005): 405–23. http://dx.doi.org/10.12697/sss.2005.33.2.08.
Full textAbstract:
In the 1990s Estonia underwent a process of radical socio-political changes: a periphery of the Soviet conglomerate became a country with an independent political and economic life. The new situation also brought about a revision of cultural identity, which in the Soviet Union had been grounded primarily on the dichotomy between national and Soviet culture. Since these oppositions were rendered unimportant with the changed politico-economic conditions, a time of ideological vacuum followed. Estonia as an independent state and a cultural island between the East and the West turned its face toward Europe, questioning for its new or true identity in the postmodernising and globalizing society. In this article three productions of Estonian theatre as examples of identity construction will be analysed, investigating the rewriting of cultural heritage, intercultural relationships and implicit ideologies.
16
Schuler, Catherine. "Anna Brenko and the Pushkin Theatre: Moscow's First art Theatre?" Theatre Survey 33, no. 1 (May 1992): 85–105. http://dx.doi.org/10.1017/s0040557400009637.
Full textAbstract:
Western scholarship on Russian theatre has been so dominated by a few prominent figures that the casual student of theatre history might justifiably be left with the impression that Russian theatre began in 1898 with the founding of the Moscow Art Theatre and ended in the 1930s with Stalin's “purification” of Soviet art and literature and the untimely disappearance of Meierhold. The absence of a significant body of research further reinforces the notion that a small gaggle of men—most notably, those associated with the MAT—were solitary beacons of progress in the otherwise barren landscape of nineteenth-century popular theatre.
17
Pukelytė, Ina. "Political Influence on Theatre Historiography." Nordic Theatre Studies 31, no. 2 (May 18, 2020): 37–48. http://dx.doi.org/10.7146/nts.v31i2.120119.
Full textAbstract:
The article discusses the question of the memory of Jewish history and culture in Lithuania in regard to the cultural and political debates that are actually taking place in Lithuanian society. Historical facts, concerning Jewish cultural life in Lithuania before the Second World War, were eliminated from the research field conducted by historiographers during the Soviet and the early post Soviet times. The article argues that this was due to political aspirations of the country; they play the crucial role in defining what type of memories the society would carry on and defend. In regard to the research done by sociologists Maurice Halbwachs, Jan and Aleida Assmanns notions of collective memory, functional and stored memory are discussed. Examples of the recent media persecutions of cultural personas such as Rūta Vanagaitė and Marius Ivaškevičius are discussed in order to illustrate the memory war that is still taking place in the actual Lithuanian society.
18
Mažeikienė, Rūta. "The Revitalization of Popular Theatre Forms in Contemporary Performance: The Case of Post-Soviet Lithuanian Theatre." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 120. http://dx.doi.org/10.7146/nts.v29i2.104608.
Full textAbstract:
The article examines the use of historical popular theatre forms in contemporary performance and analyses how historical popular theatre forms are revitalized in contemporary theatre. The first part of the article addresses the phenomena of popular theatre in general. Referring to the insights on this topic by such theatre scholars as D. Mayer (1972), P. Pavis (1998), T. Grammatas (2013) the article addresses the problem of the definition of popular theatre and discusses what are the major characteristics that make the forms of popular theatre into the source of creative renewal and artistic inspiration.The second part of the article analyses how historical popular theatre practices (such as pantomime, mime, puppetry or shadow plays) have been used by post-Soviet Lithuanian theatre artists – namely, director Gintaras Varnas at Šėpa theatre and director Vega Vaičiūnaitė at Miraklis theatre – as a stimulus to renew theatrical language and to foster new relationship with theatre audiences. The examples of both companies demonstrate that in spite of the conventional genre restrictions, the historical forms of popular theatre are not treated as an unquestionable museum relic, but rather as a means to create a live and immediate contact with a contemporary audience through universal historical forms.
19
Casson, John W. "Living Newspaper: Theatre and Therapy." TDR/The Drama Review 44, no. 2 (June 2000): 107–22. http://dx.doi.org/10.1162/10542040051058735.
Full textAbstract:
Living Newspapers—a hallmark of the Federal Theatre Project of the 1930s—were foretold in 1915 by the Italian futurists, brought into existence in 1919 in the Soviet Union, further developed in Vienna in the 1920s by the founder of psychodrama, Jacob Moreno, played in India in the 1960s and after, and are used as therapy today.
20
Golub, Spencer, and Lars Kleberg. "Theatre as Action: Soviet Russian Avant-Garde Aesthetics." Modern Language Review 91, no. 2 (April 1996): 537. http://dx.doi.org/10.2307/3735108.
Full text
21
Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)." Arts education and science 1, no. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.
Full textAbstract:
The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.
22
Spodniaková, Zuzana. "The Interpretation of the Authorial Creation of Vladimir Vysotsky on Contemporary Moscow Stages." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 267–87. http://dx.doi.org/10.2478/sd-2018-0016.
Full textAbstract:
Abstract The study presents an overview and analysis of contemporary Moscow productions inspired by the personality and work of the legendary Russian actor and poet of the latter half of the 20th century, singer and songwriter Vladimir Semyonovich Vysotsky (1938 – 1980). The authoress covers both the older productions which have been on the repertoires of theatres for several years and more recent productions staged this year on the occasion of the artist’s unlived 80th birthday. Researching on the productions by different theatre makers, staged by various theatres and drama ensembles, points at the importance and up-to-dateness of the creative legacy of Vladimir Vysotsky and at the significance of him as a personality that has become a legend and a component part of the cultural history of Soviet and post-Soviet eras. The productions constitute a significant part of the unwavering cult of his personality.
23
Whyman, Rose. "Serafima Birman: the Path of the Actress from the Moscow Art Theatre to People's Artist of the USSR." New Theatre Quarterly 34, no. 4 (October 8, 2018): 339–56. http://dx.doi.org/10.1017/s0266464x18000416.
Full textAbstract:
Serafima Birman was an actress of the Moscow Art Theatre who worked in the First Studio and Second Moscow Art Theatre throughout the revolutionary and civil war period (1910s–1920s) and went on to have a distinguished career as a performer, teacher, and director in Stalinist and post-Stalinist USSR (1920s–1970s). In this article Rose Whyman investigates her artistic and cultural contribution in the development of the Stanislavsky System and of her approach to acting, working alongside Vakhtangov, Michael Chekhov, and influenced by Meyerhold and other artists of the avant-garde. She was the first female director at the theatre, continued to act and direct in Soviet theatres, and worked in film, notably with Eisenstein on Ivan the Terrible. The development of her career required great determination and necessitated making theatrical and political choices in order to survive and maintain the artistic principles on which her work was based. Rose Whyman is a Senior Lecturer in the Department of Drama and Theatre Arts at the University of Birmingham and is the author of The Stanislavsky System of Acting (Cambridge, 2008) and Stanislavsky: the Basics (Routledge, 2013).
24
Ball, Desmond. "Controlling Theatre Nuclear War." British Journal of Political Science 19, no. 3 (July 1989): 303–27. http://dx.doi.org/10.1017/s0007123400005500.
Full textAbstract:
Over the past decade, both official defence establishments and independent strategic analysts have devoted increasing attention to the command, control, communications and intelligence (C3I) systems which support the US and Soviet strategic nuclear forces, and to the role of these systems in crises and in strategic nuclear war-fighting. In particular, specific consideration has been given to such critical issues as the extent to which current strategic C3I systems enhance crisis stability or instability, and whether or not they would serve to control escalation in the event of a strategic nuclear exchange or, because of their vulnerabilities, would in fact contribute to the dynamics of the escalation process.
25
Pesti, Madli, and Kristiina Reidolv. "Institutional and artistic changes in Estonian performing arts with a case study of Vaba Lava / Open Space." Nordic Theatre Studies 30, no. 1 (August 1, 2018): 34–54. http://dx.doi.org/10.7146/nts.v30i1.106917.
Full textAbstract:
The article gives an insight into the theatre system of Estonia, the development of the system in the turmoil of history and the current situation in the 21st century.
The first part of the article looks back at the period of 30 years: what happened with the Estonian theatre system when it moved from the Soviet occupation period into the Republic of Estonia. We show the developments in the funding system of theatres during the big changes in the socio-economic environment. We give an insight into how theatres are funded nowadays: how the funding of public and private theatres is connected with the quantitative (the number of premieres, performances and visits to the theatre) and qualitative (nominations, awards and artistic tendencies) results.
The second part of the article is a case study. We introduce a new type of performing arts organization in the Nordic and Baltic countries – Vaba Lava (Open Space) in Tallinn, which is funded as a PPP (public private partnership) in cooperation between the private and the public sector. Vaba Lava offers an open platform to all private theatres and companies offering them both a stage for performing as well as support services. The core of the Vaba Lava programme is its International Curated Programme. Performances of the programme are selected by a team of curators, who announce an International Open Call. The projects are selected from the applications submitted to the competition. We show how this kind of theatre is adapting to the funding system and what kind of performance strategies and working practices have been developed. We analyse what are the main artistic ideas of the international programme that also gives voice to underprivileged people talking about socially relevant themes.
The general research questions of the article are: how Estonian theatre has developed during the last decades and how it is adapting to the prevailing financial system? What kind of performance strategies and working practices have been developed and how do the economic conditions affect the artistic outcome?
26
Krotkova, Lyubov. "From collecting to sharing information: the Theatre Library in a changing world." Art Libraries Journal 17, no. 2 (1992): 29–31. http://dx.doi.org/10.1017/s030747220000780x.
Full textAbstract:
The Theatre Library in Moscow, attached to the theatre school of the Maly Theatre, was founded in 1922. It contains books on theatre and the performing arts, magazines, newspaper clippings, theatre programmes, and graphic items. The scope of the collections embraces both Russian pre-Revolutionary and Soviet post-Revolutionary theatre and drama. Illustrative materials (not confined to theatrical subjects) include some 40,000 engravings, and many postcards. The Library compiles albums of visual source material for specific productions. Video recordings have been collected since 1988. Library services include the maintenance of several card indexes, the publication of specialised indexes, the provision of a small reading room, an enquiry service, assistance to users and the organisation of exhibitions.
27
Enders, Jody. "Emotion Memory and the Medieval Performance of Violence." Theatre Survey 38, no. 1 (May 1997): 139–62. http://dx.doi.org/10.1017/s0040557400001873.
Full textAbstract:
When Constantin Stanislavski'sAn Actor Preparesfirst appeared in English translation in 1936, the Moscow Art Theater had already made a great impact on American theatre. Particularly influential in the Soviet director's theories of acting was his concept of emotion memory. InAn Actor Prepares, the young actor, Kostya, tries to understand how to access the “memory of life” rather than the “theatrical archives of his mind” and has an epiphany at the moment when he recalls and relives the violence of an isolated vehicular accident that had dismembered its victim:
28
Kujawińska Courtney, Krystyna. "The Cultural Role and Political Implications of Poland’s 1947 Shakespeare Festival." Text Matters, no. 7 (October 16, 2017): 183–93. http://dx.doi.org/10.1515/texmat-2017-0010.
Full textAbstract:
Emerging from the atrocities of war, and still hoping to avert the results of the Yalta conference during which the countries of Central and South–Eastern Europe, including Poland, were “handed over” to Stalin, Poland’s 1947 Shakespeare theatre festival was a sign of courage and defiance. At the Festival 23 productions of 9 Shakespeare’s dramas were staged by theatres in 11 towns, with its finale in Warsaw. My paper will show that the Festival was an attempt to demonstrate both Polish cultural links with Europe, and to subvert Marxist ideology and Soviet culture.
29
Gudkov, Maxim M. "“People of an Uncertain Existence”: The First Soviet Productions of William Saroyan’s Play My Heart’s in the Highlands." Literature of the Americas, no. 9 (2020): 208–35. http://dx.doi.org/10.22455/2541-7894-2020-9-208-235.
Full textAbstract:
Several plays by William Saroyan written in the mid-1930s reached the Soviet stage only during the Khrushchev Thaw, in the early 1960s. The paper focuses on the first Soviet productions of Saroyan’s play My Heart’s in the Highlands, premiered in Armenian (Yerevan) in 1961, and in 1962 staged in Russian by the Mayakovsky Moscow Theatre. The paper analyses the reasons for such a late appearance of Saroyan’s dramas on the Russian stage, traces how Saroyan’s trip to the USSR in 1960 prompted the staging of his work in Armenia’s capital, which thereon paved the way for its Moscow production. The theatrical history of Saroyan’s work in the USSR is viewed in a wide social, political and cultural Soviet-American macro-context during the Cold War. The paper based on the rare materials from the museum of the Mayakovsky Moscow Theatre, focuses on the reception of the play and its production in the Soviet Union. The director Ya.S. Tsitsinovski strove to transmit the elevated, poetic spirit of Saroyan’s work and find a vivid expressive form, which was not typical for the Mayakovsky Theatre of N.P. Okhlopkov’s time. Its appearance on the Moscow stage in 1962 marked the beginning of the scene history of the American author’s drama in our country. The paper is aimed at reconstructing the theatrical history of Saroyan’s plays in the USSR.
30
Melovatskaya, Anna. "The reconstruction of the “Naughty Couplets” ballet of the choreographer G. Malkhasyants." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 67–74. http://dx.doi.org/10.7256/2453-613x.2020.6.34274.
Full textAbstract:
The research subject is the period of the 1960s - the 1970s - the period of flourishing of the Soviet ballet theatre. During this period, in many theatres of the Soviet Union, choreographers-pioneers were working whose creativity was based on the commitment to traditions and readiness to propose their own vision of the development of ballet theatre. The article considers the early period of work of one of “the men of the sixties” - a choreographer Gennady Malkhasyants (1937 - 2008). The author of the article reconstructs one of his earliest plays - the ballet “Naughty Couplets” staged in 1974 in Voronezh Opera and Ballet Theatre. The ballet was a part of an one-act ballet recital. The novelty of the research consists in the fact that it introduces into the scholar discourse the materials of the personal archive of the choreographer. The topicality of the research consists in the necessity to analyze the creative work of choreographers-directors, to reconstruct the plays which are not performed any longer and haven’t been recorded. In the 1970s, G. Malkhasyants was developing various choreographer’s techniques and director’s principles of the composition of a dance. So far, the creative work of G. Malkhasyants almost hasn’t been studied. The knowledge of the materials and the creative process of G. Malkhasyants gives the opportunity to trace back the main tendencies and, probably, to find the new ways of development of the modern art of choreography.
31
Gardner, Colin. "The Losey–Moscow Connection: Experimental Soviet Theatre and the Living Newspaper." New Theatre Quarterly 30, no. 3 (August 2014): 249–68. http://dx.doi.org/10.1017/s0266464x14000499.
Full textAbstract:
Although Joseph Losey is best known as the blacklisted director of films such as the Pinter-scripted The Servant, The Go-Between, and Accident, as well as Mr Klein starring Alain Delon, he also had an important career in leftist theatre prior to making his Hollywood film debut in in the late 1940s. Because of his collaboration with Bertolt Brecht on the 1947 Hollywood production of Galileo, it is assumed that Losey learned from him most of his stagecraft – particularly the use of Verfremdungseffekt and self-reflexivity. However, as this article shows, Losey's apprenticeship was rooted not in the Epic Theatre (which was largely a second-hand phenomenon) but in the Soviet theatrical avant garde, observed at first hand during a 1935 Moscow visit studying the techniques of Meyerhold, Vakhtangov, and Pavlovich Okhlopkov, whose ‘theatre in the round’ stagings and use of complex ramps and projections provided the basis for Losey's subsequent Federal Theatre Project ‘Living Newspaper’ productions – notably Triple-A Plowed Under and Injunction Granted! Under the aegis of co-founder Hallie Flanagan, the Living Newspaper proved to be the model of 1930s political theatre: topical, didactic, fast-paced – and almost immediately obsolete as events superseded the plays' relevance. Colin Gardner is Professor of Critical Theory and Integrative Studies at the University of California, Santa Barbara. He is the author of critical studies on Joseph Losey and Karel Reisz for Manchester University Press's ‘British Film Makers’ series and of Beckett, Deleuze, and the Televisual Event: Peephole Art for Palgrave Macmillan. He is currently working with Felicity Colman on a three-volume Encyclopedia of Film-Philosophy.
32
Kleiman, Yulia A. "Pinocchio of the Red Decade: On Stage and on Screen." Literature of the Americas, no. 10 (2021): 310–30. http://dx.doi.org/10.22455/2541-7894-2021-10-310-330.
Full textAbstract:
Walt Disney’s studio created second full-length film Pinocchio in 1940. Its plot and interpretation of the characters were significantly different from the Carlo Collodi’s novel. Disney wrote enthusiastic letter to playwright and director Yasha Frank, who staged Pinocchio as theatre extravaganza in 1937. This production has become a landmark of the Children’s Theatre Project in the framework of Federal Theatre Project, being visually picturesque, inventive and up-to-date according to its social message. It was a story about the complexity of the emergence of a new human, which was especially significant in the context of the ideas of revising the structure of society. There is a reason to see in the Pinocchio script an attempt to substitute theatre dramaturgy by circus language, so essential for the Soviet theater of 1910–20s. The plot was split into numbers performed by professional variety and circus performers, and was reassembled: gags were an organic part of this new plot. However, Frank may not have escaped the influence of animation as well. The article is based on Yasha Frank’s working script, photos and reviews. It examines circus and cinema elements that were used for the theatre’s Pinocchio by Yasha Frank, and its influence to famous Walt Disney’ studio cartoon.
33
Nicholson, Steve. "Responses to Revolution: the Soviet Union Portrayed in the British Theatre, 1917–29." New Theatre Quarterly 8, no. 29 (February 1992): 62–69. http://dx.doi.org/10.1017/s0266464x00006321.
Full textAbstract:
In theatrical parlance, ‘political’ is often taken to be synonymous with ‘left-wing’, and research into political theatre movements of the first half of this century has perpetuated the assumption that the right has generally avoided taking politics as subject matter. This article, the first of two about British political theatre in the 1920s, concentrates on plays about Communism and the Soviet Union during the decade following the Russian Revolution, and offers some contrasting conclusions. Steve Nicholson, Lecturer in Drama at the Workshop Theatre of the University of Leeds, argues that, whether such plays shaped or merely reflected conventional views, they were used by the establishment for the most blatant and explicit propaganda, at a time when it felt itself under threat from the Left. The article has been researched largely through unpublished manuscripts in the Lord Chamberlain's collection of plays, housed in the British Library, and derives from a broader study of the portrayal of Communism in the British theatre from 1917 to 1945.
34
Senelick, Laurence. "‘A Woman's Kingdom’: Minister of Culture Furtseva and Censorship in the Post-Stalinist Russian Theatre." New Theatre Quarterly 26, no. 1 (February 2010): 16–24. http://dx.doi.org/10.1017/s0266464x10000023.
Full textAbstract:
The late 1960s and early 1970s are known as a period of rebellion and turbulence in the Soviet Russian theatre. Dynamic directors such as Georgy Tovstonogov, Anatoly Efros, Oleg Efremov, and Yury Lyubimov, with varying degrees of acceptance by the authorities, revolutionized the staging of classics and inspired a number of new works based on the realities of everyday life. Less well known is that this activity took place during the regime of Elena Furtseva (1910–74), first as a member of the Presidium, then as Minister of Culture. Furtseva is a paradoxical figure: the very model of a line-toeing Party member, she also used her femininity to advance her career. Uncultivated in the arts and ruled by her personal taste, she alternately bullied and coddled the artists she was supposed to control. Although Furtseva's influence was ever present from the Khrushchev era to the early Brezhnev years, she is rarely mentioned in Western accounts of Soviet theatre, and this sketch of her career is the first in English. The author, Laurence Senelick, is Fletcher Professor of Drama and Oratory at Tufts University. His books include The Chekhov Theatre: a Century of Plays in Performance (1997) and A Historical Dictionary of Russian Theatre (2007). Several of his articles have appeared in Theatre Quarterly and New Theatre Quarterly, the most recent being an article on Michael Chekhov in NTQ 99.
35
Hyeran Kim. "The Splitting of MKhAT and Collapse of Soviet Theatre." Cross-Cultural Studies 21, no. ll (December 2010): 53–86. http://dx.doi.org/10.21049/ccs.2010.21..53.
Full text
36
Lipovetsky, Mark, and Birgit Beumers1. "Reality Performance: Documentary Trends in Post-Soviet Russian Theatre." Contemporary Theatre Review 18, no. 3 (July 9, 2008): 293–306. http://dx.doi.org/10.1080/10486800802123583.
Full text
37
Brown, Lorraine A., Richard Stourac, and Kathleen McCreery. "Theatre as a Weapon: Workers' Theatre in the Soviet Union, Germany and Britain 1917-1934." Labour / Le Travail 22 (1988): 358. http://dx.doi.org/10.2307/25143095.
Full text
38
Polianski, Igor J., and Oxana Kosenko. "Soviet theatre in the fight against neurasthenia in the 1920s and 1930s – psychiatry in theatre." British Journal of Psychiatry 218, no. 3 (February 24, 2021): 127. http://dx.doi.org/10.1192/bjp.2020.215.
Full text
39
Schuler, Catherine. "Staging the Great Victory." TDR: The Drama Review 65, no. 1 (March 2021): 95–123. http://dx.doi.org/10.1017/s1054204320000118.
Full textAbstract:
A war of history and memory over the Great Patriotic War (WWII) between the Soviet Union and Germany has been raging in Vladimir Putin’s Russia for almost two decades. Putin’s Kremlin deploys all of the mythmaking machinery at its disposal to correct narratives that demonize the Soviet Union and reflect badly on post-Soviet Russia. Victory Day, celebrated annually on 9 May with parades, concerts, films, theatre, art, and music, plays a crucial role in disseminating the Kremlin’s counter narratives.
40
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.
Full textAbstract:
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.
41
Shvydkoi, Mikhail, and Elise Thoron. "Nostalgia for Soviet Theatre: Is There Hope for the Future?" Performing Arts Journal 15, no. 1 (January 1993): 111. http://dx.doi.org/10.2307/3245804.
Full text
42
Chin-A Lee. "Innovation of Chekhov Theatre During the Thaw in Soviet Russia." Journal of Drama ll, no. 36 (March 2012): 163–97. http://dx.doi.org/10.15716/dr.2012..36.163.
Full text
43
Solomonik, Inna. "Reasons for the present‐day situation in soviet puppet theatre." Contemporary Theatre Review 1, no. 1 (November 1992): 83–84. http://dx.doi.org/10.1080/10486809208568252.
Full text
44
Phil KIM. "Korean Theatre of Soviet Central Asia: Its History and Performance." Review of Korean Cultural Studies ll, no. 33 (May 2010): 315–42. http://dx.doi.org/10.17329/kcbook.2010..33.011.
Full text
45
Saro, Anneli. "Nõukogude tsensuuri mehhanismid, stateegiad ja tabuteemad Eesti teatris [Abstract: Mechanisms, strategies and taboo topics of Soviet censorship in Estonian theatre]." Ajalooline Ajakiri. The Estonian Historical Journal, no. 4 (September 9, 2019): 283–304. http://dx.doi.org/10.12697/aa.2018.4.02.
Full textAbstract:
Abstract: Mechanisms, strategies and taboo topics of Soviet censorship in Estonian theatre
Since theatre in the Soviet Union had to be first of all a propaganda and educational institution, the activity, repertoire and every single production of the theatre was subject to certain ideological and artistic prescriptions. Theatre artists were not subject to any official regulations regarding forbidden topics or ways of representation, thus the nature of censorship manifested itself to them in practice. Lists of forbidden authors and works greatly affected politics related to repertoire until the mid-1950s but much less afterwards. Research on censorship is hampered by the fact that it was predominately oral, based on phone or face-to-face conversations, and corresponding documentation has been systematically destroyed.
This article is primarily based on memoirs and research conducted by people who were active in the Soviet theatre system. It systematises the empirical material into four parts: 1) mechanisms of censorship, 2) forms and strategies, 3) counter-strategies against censorship and 4) taboo topics. Despite the attempt to map theatre censorship in Estonia after the Second World War (1945–1990), most of the material concerns the period from the mid-1960s to the mid-1980s. This can be explained by the age of the respondents, but it can also be related to the fact that the Soviet control system became more liberal or ambiguous after the Khrushchev thaw encouraged theatre artists and officials to test the limits of freedom.
The mechanisms of theatre censorship were multifaceted. Ideological correctness and the artistic maturity of repertoire and single productions were officially controlled by the Arts Administration (1940–1975) and afterwards by the Theatre Administration (1975–1990) under the supervision of the Ministry of Culture. Performing rights for new texts were allocated by the Main Administration for Literary and Publishing Affairs (Glavlit): texts by foreign authors were approved by the central office in Moscow, and texts by local authors were approved by local offices. The third censorship agency was the artistic committee that operated in every single theatre. Nevertheless, the most powerful institution was the Department of Culture of the Central Committee of the Communist Party of Estonia, whose influence on artistic issues had to be kept confidential by the parties involved. On top of all this, there was the hidden power and omnipresent network of agents of the Committee for State Security (KGB). Some audience members also acted as self-appointed censors. The network and system of censorship made the control system almost total and permanent, also enforcing self-censorship.
Forms of censorship can be divided into preventive and punitive censorship, and strategies into direct and indirect censorship. Soviet censorship institutions mostly applied preventive censorship to plays or parts of productions, but hardly any production was cancelled before its premiere because that would have had undesirable financial consequences. Punitive censorship after the premiere was meant for correcting mistakes when the political climate changed or if a censor had been too reckless/lenient/clever, or if actors/audiences had started emphasising implicit meanings. Preventive censorship was predominantly direct and punitive censorship indirect (compelling directors to change mise en scènes or prescribing the number of performances). Indirect censorship can be characterised by ambiguity and allusions. A distinction can be made between preventive and punitive censorship in the context of single productions, but when forbidden authors, works or topics were involved, these two forms often merged.
The plurality of censorship institutions or mechanisms, and shared responsibility led to a playful situation where parties on both sides of the front line were constantly changing, enabling theatre artists to use different counter-strategies against censorship. Two main battlefields were the mass media and meetings of the artistic committees, where new productions were introduced. The most common counter-strategies were the empowerment of productions and directors with opinions from experts and public figures (used also as a tool of censorship), providing ideologically correct interpretations of productions, overstated/insincere self-criticism on the part of theatre artists, concealing dangerous information (names of authors, original titles of texts, etc.), establishing relationships based on mutual trust with representatives of censorship institutions for greater artistic freedom, applying for help from central institutions of the Soviet Union against local authorities, and delating on censors. At the same time, a censor could fight for freedom of expression or a critic could work ambivalently as support or protection.
In addition to forbidden authors whose biography, world view or works were unacceptable to Soviet authorities, there was an implicit list of dangerous topics: criticism of the Soviet Union as a state and a representative of the socialist way of life, positive representations of capitalist countries and their lifestyles, national independence and symbols of the independent Republic of Estonia (incl. blue-black-white colour combinations), idealisation of the past and the bourgeoisie, derogation of the Russian language and nation, violence and harassment by Soviet authorities, pessimism and lack of positive character, religious propaganda, sexuality and intimacy. When comparing the list of forbidden topics with analogous ones in other countries, for example in the United Kingdom where censorship was abolished in 1968, it appears that at a general level the topics are quite similar, but priorities are reversed: Western censorship was dealing with moral issues while its Eastern counterpart was engaged with political issues.
It can be concluded that all censorship systems are somehow similar, embracing both the areas of restrictions and the areas of freedom and role play, providing individuals on both sides of the front line with opportunities to interpret and embody their roles according their world view and ethics. Censorship of arts is still an issue nowadays, even when it is hidden or neglected.
46
Nemchenko, L. "Montage as the Meaning-generative Principle of Avant-garde: From Montage in Cinema to Montage in Theatre (Soviet and Post-Soviet Theatre and Cinema)." KnE Social Sciences 3, no. 7 (June 7, 2018): 114. http://dx.doi.org/10.18502/kss.v3i7.2469.
Full text
47
Tyszka, Juliusz. "Student Theatre in Poland: Vehicles of Revolt, 1954–57 and 1968–71." New Theatre Quarterly 26, no. 2 (May 2010): 161–72. http://dx.doi.org/10.1017/s0266464x10000291.
Full textAbstract:
Polish student theatre was a unique artistic movement in the Soviet post-war empire, with a liberty of expression unparalleled elsewhere in the Soviet bloc. As in every political system, in any country, its creators and its public were students and young intellectuals. These theatre-makers used the umbrella of the Polish Students' Union – a surprisingly democratic institution in a totalitarian political order – and all attempts at their repression were usually appeased by the activists of the student organization, often the friends and supporters of the theatre-makers. After the creation of the Socialist Union of Polish Students these activists became more dependent on the Communist Party, but the Party establishment decided, in the period of the ‘thaw’ (1954–57), that the student artistic movement would be maintained as a kind of artistic kindergarten for avant-gardists and supporters of artistic and political revolt, to let them manifest their beliefs within the well-guarded, limited territory of student cultural centres. However, the young rebels overcame these restrictions and created a focus of artistic opposition which had a wide social and artistic influence, especially during subsequent periods of political crisis. Juliusz Tyszka was himself an activist in the student theatre movement in the late 1970s and early 1980s. Now an NTQ advisory editor, he is head of the Unit of Performance Studies, Institute of Cultural Studies, Adam Mickiewicz University at Poznań, Poland.
48
Vélez Sainz, José Julio. "«Abrazó al primer hombre»: el teatro político de César Vallejo." Archivo Vallejo 1, no. 1 (November 29, 2018): 19. http://dx.doi.org/10.34092/av.v1i1.21.
Full textAbstract:
El presente trabajo procura una revalorización del teatro de César Vallejo y de su estética teatral (tal y como aparece en El arte y la revolución) a partir de situar correctamente su obra dentro de los parámetros del teatro político y soviético del momento. Vallejo, como Piscator, Meyerhold, Maiakovski, Mishon y otros autores de teatro revolucionario, presentan un proyecto ideológico y estético paralelo en el que la nueva estética proletaria supere a la burguesa. En esta estética es fundamental el uso de la nueva cinematografía, el documento, la «biomecánica», la coreografía armónica y una concepción escenográfico-espacial constructivista. A la par, este artículo adelanta que, desde el Instituto del Teatro de Madrid, nos encontramos en un proceso de realizar una edición de los textos teatrales en francés que incluya los tachones, enmiendas y correcciones. Esta edición podría beneficiarse de ser planteada a partir de los presupuestos de la crítica genética de modo que se deje a las claras el proceso de composición del autor y que permita una mejor fijación del arquetipo de unos textos de tan complicada transmisión.
ABSTRACTThis paper attempts to reappraise the theatre and theatrical aesthetics of Cesar Vallejo, as it appears in El arte y la revolución (‛Art and Revolution’) by properly placing his work in the political theatre and Soviet parameters of those times. As Piscator, Meyerhold, Maiakowski, Mishon and other authors of revolutionary theater, Vallejo presented an ideological and aesthetic project in which the new proletarian aesthetic overcome the bourgeois. In this aesthetic, it is essential to use the new cinema, the document, «biomechanics», the harmonic choreography and a constructivist scenographic-spatial conception. At the same time, this paper anticipates that, from the Instituto del Teatro de Madrid (Institute of the Theatre of Madrid), an edition of the theatrical texts in French, including cross-outs, amendments and corrections, is in process. This edition could benefit from being raised from the presuppositions of the genetic criticism so the author’s composition process are clear and allow a better setting for the complicated transmission of archetypal texts.
Keywords: Cesar Vallejo, Soviet theatre, proletariat, revolution, philology, ecdotics.
49
Pearson, Tony. "Meyerhold and Evreinov: ‘Originals’ at Each Other's Expense." New Theatre Quarterly 8, no. 32 (November 1992): 321–32. http://dx.doi.org/10.1017/s0266464x00007107.
Full textAbstract:
Our occasional series of original theatre documents continues with this translation, the first in English, of an article written in 1915 by the Russian director Nikolai Evreinov attacking his contemporary and erstwhile colleague Vsevolod Meyerhold for artistic plagiarism – an attack which, of course, reveals as much about the susceptibilities and private jealousies of its perpetrator as it does about its object. Tony Pearson, who currently teaches in the Department of Theatre, Film, and Television Studies in the University of Glasgow, accompanies his translation with a full introduction and commentary, setting the polemics within the context of the Russian and early Soviet theatre, and the subsequent, separate careers of the two personalities involved.
50
Azeeva, Irina V., and Artem A. Perfilov. "Post-Soviet new drama: macro- and microcosm of Konstantin Steshik." World of Russian-speaking countries 1, no. 7 (2021): 82–92. http://dx.doi.org/10.20323/2658-7866-2021-1-7-82-92.
Full textAbstract:
The authors focus on the phenomenon of drama written by Konstantin Steshik, a young Belarusian playwright who writes in Russian. Describing and analysing this phenomenon is the aim of the researchers. The lack of research into the playwright's work is the reason for the novelty of the study. The relevance is determined by the demand for Steshik's plays in contemporary Russian theatre. The playwright's creative competence is proved by his numerous victories in Russian and international drama contests. The authors consider Stesik's work in the unity of the playwright's macro- and microcosm: the inner world of the characters and the circumstances they find themselves in. One of the authors' important tasks is to determine the foundation for Steshik's work. A historical and theatrical overview from Soviet Belarusian drama to the works of the authors associated with the well-known Belarusian Free Theatre association reveals not exactly the foundation, but the soil on which the phenomenon involved mainly grows. The authors note the close connection of Steshik's work to the phenomenon of post-Soviet «new drama». With its appearance on the territory of the CIS countries, social problems come to the forefront in contemporary theatre, and there arises a theme of reflection on the past, both in a positive and a negative way. In the final part of the article, the authors analyse the peculiarities of Steshik's poetics. The analysis made it possible to register the striking artistic uniqueness of the playwright's creative style. Steshik's plays clearly expand the scope of the post-Soviet «new drama». His voice stands out against the sharp social discourse of contemporary playwrights. Vivid metaphors, close to the traditions of «magic realism» literature, are mixed with psychological naturalism in an original way