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This book examines folk music and dance revival movements in Russia showing how folk 'tradition' in Russia is an artificial cultural construct, which is periodically reinvented.
An examination of the popular music culture of the post-Bolshevik Russian emigration and the impact made by this group on American culture and politics. Performing Tsarist Russia in New York begins with a rich account of the musical evenings that took place in the Russian émigré enclave of Harlem in the 1920s and weaves through the world of Manhattan’s Russian restaurants, Tin Pan Alley industry, Broadway productions, 1939 World’s Fair, Soviet music distributors, postwar Russian parish musical life, and Cold War radio programming to close with today’s Russian ball scene, exploring how the idea of Russia Abroad has taken shape through various spheres of music production in New York over the course of a century. Engaging in an analysis of musical styles, performance practice, sheet music cover art, the discourses surrounding this music, and the sonic, somatic, and social realms of dance, author Natalie K. Zelensky demonstrates the central role played by music in shaping and maintaining the Russian émigré diaspora over multiple generations as well as the fundamental paradox underlying this process: that music’s sustaining power in this case rests on its proclivity to foster collective narratives of an idealized prerevolutionary Russia while often evolving stylistically to remain relevant to its makers, listeners, and dancers. By combining archival research with fieldwork and interviews with Russian émigrés of various generations and emigration waves, Zelensky presents a close historical and ethnographic examination of music’s potential as an aesthetic, discursive, and social space through which diasporans can engage with an idea of a mythologized homeland, and, in turn, the vital role played by music in the organization, development, and reception of Russia Abroad.
As waves of composers migrated from Russia in the 20th century, they grappled with the complex struggle between their own traditions and those of their adopted homes. Russian Composers Abroad explores the self-identity of these émigrés, especially those who left from the 1970s on, and how aspects of their diasporic identities played out in their music. Elena Dubinets provides a journey through the complexities of identity formation and cultural production under globalization and migration, elucidating sociological perspectives of the post-Soviet world that have caused changes in composers' outlooks, strategies, and rankings. Russian Composers Abroad is an illuminating study of creative ideas that are often shaped by the exigencies of financing and advancement rather than just by the vision of the creators and the demands of the public.
Throughout its modern history, Russia has seen a succession of highly performative social acts that play out prominently in the public sphere. This innovative volume brings the fields of performance studies and Russian studies into dialog for the first time and shows that performance is a vital means for understanding Russia's culture from the reign of Peter the Great to the era of Putin. These twenty-seven essays encompass a diverse range of topics, from dance and classical music to live poetry and from viral video to public jubilees and political protest. As a whole they comprise an integrated, compelling intervention in Russian studies. Challenging the primacy of the written word in this field, the volume fosters a larger intellectual community informed by theories and practices of performance from anthropology, art history, dance studies, film studies, cultural and social history, literary studies, musicology, political science, theater studies, and sociology.
An assessment of Russia that suggests that we should look beyond traditional means of power to understand its strength and capacity to disrupt international politics. Too often, we are told that Russia plays a weak hand well. But, perhaps the nation's cards are better than we know. Russia ranks significantly behind the US and China by traditional measures of power: GDP, population size and health, and military might. Yet 25 years removed from its mid-1990s nadir following the collapse of the USSR, Russia has become a supremely disruptive force in world politics. Kathryn E. Stoner assesses the resurrection of Russia and argues that we should look beyond traditional means of power to assess its strength in global affairs. Taking into account how Russian domestic politics under Vladimir Putin influence its foreign policy, Stoner explains how Russia has battled its way back to international prominence. From Russia's seizure of the Crimea from Ukraine to its military support for the Assad regime in Syria, the country has reasserted itself as a major global power. Stoner examines these developments and more in tackling the big questions about Russia's turnaround and global future. Stoner marshals data on Russia's political, economic, and social development and uncovers key insights from its domestic politics. Russian people are wealthier than the Chinese, debt is low, and fiscal policy is good despite sanctions and the volatile global economy. Vladimir Putin's autocratic regime faces virtually no organized domestic opposition. Yet, mindful of maintaining control at home, Russia under Putin also uses its varied power capacities to extend its influence abroad. While we often underestimate Russia's global influence, the consequences are evident in the disruption of politics in the US, Syria, and Venezuela, to name a few. Russia Resurrected is an eye-opening reassessment of the country, identifying the actual sources of its power in international politics and why it has been able to redefine the post-Cold War global order.
In the 1988 Winter Olympics, the Soviet bloc athletes won 56 medals, while the United States won six. Written by the former sports psychologist for the Soviet Olympic team, this book reveals Russian and East German techniques for peak performance training.
An examination of the popular music culture of the post-Bolshevik Russian emigration and the impact made by this group on American culture and politics. Performing Tsarist Russia in New York begins with a rich account of the musical evenings that took place in the Russian émigré enclave of Harlem in the 1920s and weaves through the world of Manhattan’s Russian restaurants, Tin Pan Alley industry, Broadway productions, 1939 World’s Fair, Soviet music distributors, postwar Russian parish musical life, and Cold War radio programming to close with today’s Russian ball scene, exploring how the idea of Russia Abroad has taken shape through various spheres of music production in New York over the course of a century. Engaging in an analysis of musical styles, performance practice, sheet music cover art, the discourses surrounding this music, and the sonic, somatic, and social realms of dance, author Natalie K. Zelensky demonstrates the central role played by music in shaping and maintaining the Russian émigré diaspora over multiple generations as well as the fundamental paradox underlying this process: that music’s sustaining power in this case rests on its proclivity to foster collective narratives of an idealized prerevolutionary Russia while often evolving stylistically to remain relevant to its makers, listeners, and dancers. By combining archival research with fieldwork and interviews with Russian émigrés of various generations and emigration waves, Zelensky presents a close historical and ethnographic examination of music’s potential as an aesthetic, discursive, and social space through which diasporans can engage with an idea of a mythologized homeland, and, in turn, the vital role played by music in the organization, development, and reception of Russia Abroad.