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Soviet Jewish theater in a world of moral compromise / Susan Tumarkin Goodman -- The political context of Jewish theater and culture in the Soviet Union / Zvi Gitelman -- Habima and "Biblical theater" / Vladislav Ivanov -- Yiddish constructivism : the art of the Moscow State Yiddish Theater / Jeffrey Veidlinger -- Art and theater / Benjamin Harshav -- Habima and Goset : an illustrated chronicle
This is the most comprehensive study available of the popular theater that developed during the last decades of tsarist Russia. Swift examines the origins and significance of the new "people's theaters" that were created for the lower classes in St. Petersburg and Moscow between 1861 and 1917. His extensively researched study, full of anecdotes from the theater world of the day, shows how these people's theaters became a major arena in which the cultural contests of late imperial Russia were played out and how they contributed to the emergence of an urban consumer culture during this period of rapid social and political change. Swift illuminates many aspects of the story of these popular theaters—the cultural politics and aesthetic ambitions of theater directors and actors, state censorship politics and their role in shaping the theatrical repertoire, and the theater as a vehicle for social and political reform. He looks at roots of the theaters, discusses specific theaters and performances, and explores in particular how popular audiences responded to the plays.
A latecomer continually hampered by government control and interference, the Russian theatre seems an unlikely source of innovation and creativity. Yet, by the middle of the nineteenth century, it had given rise to a number of outstanding playwrights and actors, and by the start of the twentieth century, it was in the vanguard of progressive thinking in the realms of directing and design. Its influence throughout the world was pervasive: Nikolai Gogol', Anton Chekhov and Maksim Gor'kii remain staples of repertories in every language, the ideas of Konstantin Stanislavskii, Vsevolod Meierkhol'd and Mikhail Chekhov continue to inspire actors and directors, while designers still draw on the graphics of the World of Art group and the Constructivists. What distinguishes Russian theater from almost any other is the way in which these achievements evolved and survived in ongoing conflict or cooperation with the State. This second edition of Historical Dictionary of Russian Theatre covers the history through a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 1000 cross-referenced entries on individual actors, directors, designers, entrepreneurs, plays, playhouses and institutions, Censorship, Children’s Theater, Émigré Theater, and Shakespeare in Russia. This book is an excellent access point for students, researchers, and anyone wanting to know more about Russian Theatre.
A comprehensive history of Russian theatre, written by an international team of experts.
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.
In The Popular Theatre Movement in Russia, Gary Thurston illuminates the "popular theater" of pre-revolutionary Russia, which existed alongside the performing arts for the nation's economic elite. He shows how from Peter the Great's creation of Europe's first theater for popular enlightenment to Lenin's decree nationalizing all Soviet theaters, Russian rulers aggressively exploited this enduring art form for ideological ends rather than for its commercial potential. After the emancipation of the serfs in 1861, educated Russians began to present plays as part of a crusade to "civilize" the peasants. Relying on archival and published material virtually unknown outside Russia, this study looks at how playwrights criticized Russian social and political realities, how various groups perceived their plays, and how the plays motivated viewers to change themselves or change their circumstances. The picture that emerges is of a potent civic art influential in a way that eluded and challenged authoritarian control.
There are some experiences which deepen with the passing of time. Exposure to andfamiliarity with the international art of puppet theatre is no exception. This introductionwas conceived somewhere beside the Black Sea in a moment of reflection some one anda half years after the Soviet-British International Union of Marionettes Artists (UNIMA)conference in Glasgow. I have just spent the past five weeks working as visiting artisticdirector and designer at the Rostov State Puppet Theatre on a puppet play adaptation ofOne Hundred Years of Solitude by Gabriel Garcia Marquez. Together with the playwr.