{"title":"谢尔盖·爱森斯坦的《以俄罗斯方式演绎英国主题的幻想曲》","authors":"E. Kuznetsova","doi":"10.31249/hoc/2022.02.05","DOIUrl":null,"url":null,"abstract":"The article invites its readers to travel back in time to open a century-old page in the world’s cultural history showing one of the first tries by Sergei Eisenstein as a theatre designer. Although Bernard Shaw’s play “Heartbreak House. A Fantasia in the Russian Manner on English Themes” was never staged at “The Actor’s Theatre”, the surviving sketches and notes do call our attention. A microanalysis of these sources demonstrates that the ideas put forward by Sergei Eisenstein are still used by Russian designers and directors.","PeriodicalId":256945,"journal":{"name":"Herald of Culturology","volume":"159 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"“A FANTASIA IN THE RUSSIAN MANNER ON ENGLISH THEMES” BY SERGEI EISENSTEIN\",\"authors\":\"E. Kuznetsova\",\"doi\":\"10.31249/hoc/2022.02.05\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The article invites its readers to travel back in time to open a century-old page in the world’s cultural history showing one of the first tries by Sergei Eisenstein as a theatre designer. Although Bernard Shaw’s play “Heartbreak House. A Fantasia in the Russian Manner on English Themes” was never staged at “The Actor’s Theatre”, the surviving sketches and notes do call our attention. A microanalysis of these sources demonstrates that the ideas put forward by Sergei Eisenstein are still used by Russian designers and directors.\",\"PeriodicalId\":256945,\"journal\":{\"name\":\"Herald of Culturology\",\"volume\":\"159 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Herald of Culturology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.31249/hoc/2022.02.05\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Herald of Culturology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.31249/hoc/2022.02.05","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
“A FANTASIA IN THE RUSSIAN MANNER ON ENGLISH THEMES” BY SERGEI EISENSTEIN
The article invites its readers to travel back in time to open a century-old page in the world’s cultural history showing one of the first tries by Sergei Eisenstein as a theatre designer. Although Bernard Shaw’s play “Heartbreak House. A Fantasia in the Russian Manner on English Themes” was never staged at “The Actor’s Theatre”, the surviving sketches and notes do call our attention. A microanalysis of these sources demonstrates that the ideas put forward by Sergei Eisenstein are still used by Russian designers and directors.
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