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“Прокол в вечность”. Андрей Белый и трансформация пьесы Сухово-Кобылина Дело в постановке Бориса Сушкевича (МХАТ II, 1928) “刺穿永恒”。安德烈·贝利（Andrei Bely）和鲍里斯·苏什凯维奇（Boris Sushkevich）改编的苏霍沃·科比林（Sukhovo Kobylin）的戏剧《案件》（Delo）（莫斯科艺术博物馆，1928年）

IF 0.2 3区文学

RUSSIAN LITERATURE Pub Date : 2023-01-01 DOI: 10.1016/j.ruslit.2022.11.002

Елена Пенская (Elena Penskaya)

{"title":"“Прокол в вечность”. Андрей Белый и трансформация пьесы Сухово-Кобылина Дело в постановке Бориса Сушкевича (МХАТ II, 1928)","authors":"Елена Пенская (Elena Penskaya)","doi":"10.1016/j.ruslit.2022.11.002","DOIUrl":"10.1016/j.ruslit.2022.11.002","url":null,"abstract":"<div><p>This article analyzes the impressions of Russian poet Andrey Bely, who visited the dress rehearsal of the play <em>The Case</em> (<em>Delo</em>), written by Aleksandr Sukhovo-Kobylin and staged by Boris Sushkevich, at the Moscow Art Theater II. Bely shared his impressions in a letter to Razumnik Ivanov-Razumnik, writer, philosopher and literary critic, and a friend and interlocutor of Andrey Bely. In the mini-review in his letter Bely also mentions Leonid Grossman, a specialist in the field of the heritage of Sukhovo-Kobylin. Both Bely and Grossman focus on the play’s protagonist Muromsky. They note the “memory of the character” and they discuss the performance of the actor Mikhail Chekhov.</p><p>Archival sources demonstrate the specifics of theatrical memory. Drafts, director’s copies, typewritten inserts, pasted from other publications preserved in the foundation at the Museum of Theatrical and Musical Art in St. Petersburg and in the Russian State Archive of Literature, were brought for the reconstruction of the performance. Analysis of the director’s copy of the script prepared by Boris Sushkevich made it possible to identify the original source with which he worked when adapting it for the stage. It was the publication of the play <em>The Case</em> (<em>Delo</em>) from 1887. A comparison of the transformation of the text reveals common elements in two productions: the plays <em>The Case</em> (<em>Delo</em>) by Sukhovo-Kobylin and <em>Petersburg</em> by Andrei Bely.</p></div>","PeriodicalId":43192,"journal":{"name":"RUSSIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49622225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

New Time, New Name, New Balances: Editorial 新的时间，新的名字，新的平衡：社论

IF 0.2 3区文学

RUSSIAN LITERATURE Pub Date : 2023-01-01 DOI: 10.1016/j.ruslit.2023.03.002

Ellen Rutten

引用次数: 0

Между богами и я-богом: границы театра и театральности у Хлебникова 在神和我神之间：剧院和戏剧的边界在赫列布尼科夫

IF 0.2 3区文学

RUSSIAN LITERATURE Pub Date : 2023-01-01 DOI: 10.1016/j.ruslit.2022.09.005

Марио Карамитти (Mario Caramitti)

{"title":"Между богами и я-богом: границы театра и театральности у Хлебникова","authors":"Марио Карамитти (Mario Caramitti)","doi":"10.1016/j.ruslit.2022.09.005","DOIUrl":"https://doi.org/10.1016/j.ruslit.2022.09.005","url":null,"abstract":"<div><p>Khlebnikov’s dramaturgical texts – little-known, little-studied, and even less staged – are in a variety of genres and forms (poetry, prose, or a mix of both), and have a variety of themes and settings. They are united by Khlebnikov’s sustained interest in theatricality: the theatricalization of gestures, of one’s life and everyday behaviour, a sort of self-theatre. An overall interpretative key may be offered by the two meanings of ‘vision’: spectacle – Khlebnikov’s creation of vivid, expressive scenes to impress the eyes; and perception – Khlebnikov’s expression of his “science” of the universe. The article explores the composition, purpose, and functions of the predominantly supernatural characters, particularly the semi-parodic role of <em>deus ex machina</em>. The general term “theatre of the impossible” (Grigor’ev) covers both the especial difficulty of staging Khlebnikov’s works, and their extreme density of semantic and visual hues. This idiosyncratic substitute for the superficially mimicked genre of tragedy ultimately resolves in collapse, implosion of the whole textual structure, when self-oriented and self-sufficient verbal layers collide.</p></div>","PeriodicalId":43192,"journal":{"name":"RUSSIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49839441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Meyerhold's Castings of Actresses for Male Parts 梅耶霍尔德的男演员选角

IF 0.2 3区文学

RUSSIAN LITERATURE Pub Date : 2023-01-01 DOI: 10.1016/j.ruslit.2022.09.002

Janne Risum

{"title":"Meyerhold's Castings of Actresses for Male Parts","authors":"Janne Risum","doi":"10.1016/j.ruslit.2022.09.002","DOIUrl":"https://doi.org/10.1016/j.ruslit.2022.09.002","url":null,"abstract":"<div><p>In this article I examine Meyerhold's occasional castings of actresses for male parts in a small, but significant, number of instances from his long career as a stage director. Meyerhold cast a woman for a male part six times, five of them in tragedies. However, he did so intermittently and for different purposes, to suit highly heterogenous contexts. Three cases have particularly interesting perspectives: his 1915 production at the Alexandrinsky Theatre in Saint Petersburg of Calderon de la Barca's Spanish Baroque tragedy <em>The Constant Prince</em>; his 1926 co-production at the Meyerhold Theatre in Moscow of Tretyakov's activist melodrama <em>Roar, China!</em>; and his 1931 production at the Meyerhold Theatre of Yury Olesha's contemporary tragedy <em>A List of Benefits</em>. The three cases are not connected but are – each in its own way – artistic reactions to the three consecutive, dissimilar systems of government, under which Meyerhold lived and worked: the Tsarist regime, the formative first decade of the Soviet Union, and finally Stalinism. On a more basic personal level, they reflect Meyerhold's habitual preference for tragedy as a means of expression to reveal the social mechanisms exploited by oppression or released against it. In each case, casting an actress in a male part poses a maximum contrast to the oppressive system inquired into by way of metonymy.</p></div>","PeriodicalId":43192,"journal":{"name":"RUSSIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49876995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Забытый отклик на татлиновскую постановку ЗАНГЕЗИ (антиконструктивистская рецензия опоязовца Бориса Казанского) 塔利诺夫作品《赞吉兹》(鲍里斯·卡赞斯基的反建设性评论)的被遗忘的反应

IF 0.2 3区文学

RUSSIAN LITERATURE Pub Date : 2023-01-01 DOI: 10.1016/j.ruslit.2022.12.002

Андрей Россомахин (Andrey Rossomakhin)

引用次数: 0

Будущее русского балета: взгляд из начала ХХ века 俄罗斯芭蕾舞的未来：二十世纪初的观点

IF 0.2 3区文学

RUSSIAN LITERATURE Pub Date : 2023-01-01 DOI: 10.1016/j.ruslit.2023.02.001

Наталья Коршунова (Natal’ia Korshunova)

引用次数: 0

Не (совсем) акмеистическая трагедия: Лаодамия Иннокентия Анненского и Юдифь Николая Недоброво 非阿克梅主义悲剧：安纳斯基的无辜的老挝人和尼古拉涅德沃的朱迪思

IF 0.2 3区文学

RUSSIAN LITERATURE Pub Date : 2023-01-01 DOI: 10.1016/j.ruslit.2022.10.003

Роман Мних (Roman Mnich)

引用次数: 0

Синкопированный Гоголь. О фонографных записях Ревизора в постановке Вс. Мейерхольда 模仿的果戈理关于“审计员”的录音带。迈耶尔霍尔达

IF 0.2 3区文学

RUSSIAN LITERATURE Pub Date : 2023-01-01 DOI: 10.1016/j.ruslit.2023.01.002

Валерий Золотухин (Valeriy Zolotukhin)

{"title":"Синкопированный Гоголь. О фонографных записях Ревизора в постановке Вс. Мейерхольда","authors":"Валерий Золотухин (Valeriy Zolotukhin)","doi":"10.1016/j.ruslit.2023.01.002","DOIUrl":"10.1016/j.ruslit.2023.01.002","url":null,"abstract":"<div><p>The article provides commentary and background information on the audio recording of Nikolai Gogol’s “The Inspector General” directed by Vsevolod Meyerhold (1926). This performance was appreciated by contemporaries as one of the most significant works by the director and a striking achievement of 1920s Soviet theatre. The wax cylinder captured a dialogue between Khlestakov (Erast Garin) and Anna Andreevna (Zinaida Reich, the only voice recording of the actress) from Act III, Scene 6, where Khlestakov is boasting about the life he leads in St Petersburg. It provides us with rare examples of Meyerhold’s approach to Gogol characters’ speech, which was influenced by the experiments of modern music like jazz, and conformed with the general principles of Meyerhold’s biomechanics. The article contributes to knowledge about approaches to documenting twentieth-century theatre and Meyerhold performances in particular. It focuses on the research projects of the Institute for Artistic Speech Research (Leningrad), which initiated the sound recordings of this and other Meyerhold productions in 1927.</p></div>","PeriodicalId":43192,"journal":{"name":"RUSSIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49083646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Velimir Khlebnikov's “Christmas Tale” Snezhimochka Velimir Khlebnikov's “Christmas Tale” Snezhimochka

IF 0.2 3区文学

RUSSIAN LITERATURE Pub Date : 2023-01-01 DOI: 10.1016/j.ruslit.2022.09.001

Gabriella Elina Imposti

引用次数: 0

Ревизор, “Oткомментированный всем гоголем”. Александр Слонимский и Юлия Сазонова-Слонимская в полемике о Мейерхольдовском спектакле 监察员，" gogol的评论"亚历山大·斯洛宁斯基和茱莉亚·萨佐诺夫-斯洛宁斯基在关于迈耶霍尔多夫戏剧的争论中

IF 0.2 3区文学

RUSSIAN LITERATURE Pub Date : 2023-01-01 DOI: 10.1016/j.ruslit.2023.01.001

О.Н. Купцова

引用次数: 0