By Laurence Senelick
A latecomer regularly hampered by means of executive keep watch over and interference, the Russian theatre turns out an not going resource of innovation and creativity. but, via the center of the 19th century, it had given upward thrust to a few extraordinary playwrights and actors, and via the beginning of the 20 th century, it used to be within the leading edge of innovative considering within the geographical regions of directing and layout. Its effect during the international was once pervasive: Nikolai Gogol', Anton Chekhov and Maksim Gor'kii stay staples of repertories in each language, the guidelines of Konstantin Stanislavskii, Vsevolod Meierkhol'd and Mikhail Chekhov proceed to motivate actors and administrators, whereas designers nonetheless draw at the pix of the area of artwork crew and the Constructivists. What distinguishes Russian theater from nearly the other is the best way those achievements advanced and survived in ongoing clash or cooperation with the State.
This moment version of Historical Dictionary of Russian Theatre covers the historical past via a chronology, an introductory essay, appendixes, and an in depth bibliography. The dictionary part has over a thousand cross-referenced entries on person actors, administrators, designers, marketers, performs, playhouses and associations, Censorship, Children’s Theater, Émigré Theater, and Shakespeare in Russia. This e-book is a wonderful entry element for college students, researchers, and someone desirous to understand extra approximately Russian Theatre.
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Additional resources for Historical Dictionary of Russian Theater (Historical Dictionaries of Literature and the Arts)
Example text
No-se! (1968). He was arrested again in 1970 for anti-Soviet slander, spent three years in a labor camp in Kolyma, immigrated to the United States, and died in an auto accident on his way to a conference in Madrid. AMFITEATROV, ALEKSANDR VALENTINOVICH (1862–1938). A vastly popular writer of novels, journalism, and plays in the late 19th century, his importance to the theatre comes from his novel of backstage life Twilight of the Demi-Gods (1908) and his collection of essays Familiar Muses (1928).
C. AKSËNOV, VSEVOLOD NIKOLAEVICH (1898–1960). Actor. He began his career in 1920 and until 1946 acted with scant success at 10 • ALEKSANDRINSKII THEATRE the Moscow Malii Theatre. In 1935 he took to cabaret, performing texts by Aleksandr Pushkin, Aleksandr Blok, Sergei Esenin, Vladimir Maiakovskii, and others. He organized, staged, and performed literary-musical compositions and Western classics (Peer Gynt, Egmont) with understated lyricism, exquisite diction, and deep feeling. In 1948 he created the role of the disabused American Harry Smith in The Russian Question, for which he won a Stalin prize.
He also designed the Cubo-Futurist decorations for the buildings surrounding Uritskii Square on the first anniversary of the Revolution in 1918. His distorted, twodimensional settings and mask-like makeup for Habima’s Dybbuk and for the Uriel Acosta at what would become the Jewish State Theatre (directed by Aleksei Granovskii, both 1922) set the style for both companies, and he became the Jewish theatre’s chief designer from 1924 to 1928. The critic Abram Éfros considered Al'tman’s ornamental abstraction a more effective vehicle for conveying Jewishness than Mark Shagall’s style.