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Author: Oliver M. Sayler
Publisher:
ISBN:
Category : Theater
Languages : en
Pages : 342
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Book Description
Author: Oliver M. Sayler
Publisher:
ISBN:
Category : Theater
Languages : en
Pages : 342
Get Book Here
Book Description
Author: Oliver M. Sayler
Publisher:
ISBN:
Category : Theater
Languages : en
Pages : 328
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Book Description
Author: Nancy Van Norman Baer
Publisher:
ISBN:
Category : Avant-garde (Aesthetics)
Languages : en
Pages : 216
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Book Description
Author: Robert Leach
Publisher: Cambridge University Press
ISBN: 9780521432207
Category : Drama
Languages : en
Pages : 468
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Book Description
A comprehensive history of Russian theatre, written by an international team of experts.
Author: Laurence Senelick
Publisher: Yale University Press
ISBN: 0300194765
Category : Performing Arts
Languages : en
Pages : 781
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Book Description
In this monumental work, Laurence Senelick and Sergei Ostrovsky offer a panoramic history of Soviet theater from the Bolshevik Revolution to the eventual collapse of the USSR. Making use of more than eighty years’ worth of archival documentation, the authors celebrate in words and pictures a vital, living art form that remained innovative and exciting, growing, adapting, and flourishing despite harsh, often illogical pressures inflicted upon its creators by a totalitarian government. It is the first comprehensive analysis of the subject ever to be published in the English language.
Author: John E. Bowlt
Publisher:
ISBN: 9781848424531
Category : Performing Arts
Languages : en
Pages : 0
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Book Description
A landmark volume which explores the remarkable flowering of radical, visionary and experimental design for performance in Russia from 1913-1933.
Author:
Publisher:
ISBN:
Category : Book collecting
Languages : en
Pages : 838
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Book Description
Author: Rebecca Beasley
Publisher: Oxford University Press
ISBN: 0192522477
Category : Literary Criticism
Languages : en
Pages : 550
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Book Description
Russomania: Russian Culture and the Creation of British Modernism provides a new account of modernist literature's emergence in Britain. British writers played a central role in the dissemination of Russian literature and culture during the early twentieth century, and their writing was transformed by the encounter. This study restores the thick history of that moment, by analyzing networks of dissemination and reception to recover the role of neglected as well as canonical figures, and institutions as well as individuals. The dominant account of British modernism privileges a Francophile genealogy, but the turn-of-the century debate about the future of British writing was a triangular debate, a debate not only between French and English models, but between French, English, and Russian models. Francophile modernists associated Russian literature, especially the Tolstoyan novel, with an uncritical immersion in 'life' at the expense of a mastery of style, and while individual works might be admired, Russian literature as a whole was represented as a dangerous model for British writing. This supposed danger was closely bound up with the politics of the period, and this book investigates how Russian culture was deployed in the close relationships between writers, editors, and politicians who made up the early twentieth-century intellectual class—the British intelligentsia. Russomania argues that the most significant impact of Russian culture is not to be found in stylistic borrowings between canonical authors, but in the shaping of the major intellectual questions of the period: the relation between language and action, writer and audience, and the work of art and lived experience. The resulting account brings an occluded genealogy of early modernism to the fore, with a different arrangement of protagonists, different critical values, and stronger lines of connection to the realist experiments of the Victorian past, and the anti-formalism and revived romanticism of the 1930s and 1940s future.
Author: Oliver Martin Sayler
Publisher: Legare Street Press
ISBN: 9781018567914
Category :
Languages : en
Pages : 0
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Book Description
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: Lynn Mally
Publisher: Cornell University Press
ISBN: 1501706977
Category : History
Languages : en
Pages : 280
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Book Description
During the Russian Revolution and Civil War, amateur theater groups sprang up in cities across the country. Workers, peasants, students, soldiers, and sailors provided entertainment ranging from improvisations to gymnastics and from propaganda sketches to the plays of Chekhov. In Revolutionary Acts, Lynn Mally reconstructs the history of the amateur stage in Soviet Russia from 1917 to the height of the Stalinist purges. Her book illustrates in fascinating detail how Soviet culture was transformed during the new regime's first two decades in power. Of all the arts, theater had a special appeal for mass audiences in Russia, and with the coming of the revolution it took on an important role in the dissemination of the new socialist culture. Mally's analysis of amateur theater as a space where performers, their audiences, and the political authorities came into contact enables her to explore whether this culture emerged spontaneously "from below" or was imposed by the revolutionary elite. She shows that by the late 1920s, Soviet leaders had come to distrust the initiatives of the lower classes, and the amateur theaters fell increasingly under the guidance of artistic professionals. Within a few years, state agencies intervened to homogenize repertoire and performance style, and with the institutionalization of Socialist Realist principles, only those works in a unified Soviet canon were presented.
