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Université Paris-Sorbonne University of Sheffield UNIVERSITÉ PARIS-SORBONNE UNIVERSITY OF SHEFFIELD ÉCOLE DOCTORALE V Laboratoire de recherche IREMUS T H È S E pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ PARIS-SORBONNE ET UNIVERSITY OF SHEFFIELD Discipline : MUSIQUE ET ETUDES SLAVES Présentée et soutenue par : Michelle ASSAY (ESHGHPOUR) le : 23 janvier 2017 Hamlet in the Stalin Era and Beyond: Stage and Score Les mises en scène et mises en musique d’Hamlet à l’ère stalinienne et après Sous la direction de : Mme Michèle BARBE – Professeur émérite, Université Paris Sorbonne M. Evgeny DOBRENKO – Professeur, University of Sheffield Membres du jury : Mme Michèle BARBE – Professeur émérite, Université Paris Sorbonne Mme Katerina CLARK – Professeur, University of Yale M. Evgeny DOBRENKO – Professeur, University of Sheffield M. Walter ZIDARIČ – Professeur, Université de Nantes Hamlet in the Stalin Era and Beyond: Stage and Score Les mises en scène et mises en musique d’Hamlet à l’ère stalinienne et après Acknowledgements I wish to thank first and foremost my distinguished supervisors, Professor Michèle Barbe at the Université Paris Sorbonne and Professor Evgeny Dobrenko at the University of Sheffield, for their continuous belief in this project, for their commitment, encouragement, intellectual rigour and support. I express my gratitude to the members of the jury and the external examiners for taking the time and care to read and assess my work and to attend my viva voce. I would like to extend my thanks to Professors Kristine Horner and Craig Brandist, Ms Lottie Mohindra, Claudia Villa Gutierrez and Claire Ryckmans as well as the rest of my PhD team at School of Languages and Culture of the University of Sheffield and at the Ecole Doctorale V and Maison de la Recherche of the Université Paris Sorbonne for supporting me throughout this project. I am truly indebted and thankful to Ms. Claire Leavitt (Sheffield) and Mr Igor Bratusek (Maison de la Recherche) for their patience and most generous support during many obstacles of this journey. The adventure of completing this project included several trips to Russia, which was made possible by grants and financial assistance from several organisations and institutions to which I would like to express my gratitude: Conseil régional d’Île de France, Santander, Petrie Watson Exhibitions, CEELBAS, the Learned Society of the University of Sheffield, and the International Shakespeare Association, as well as the research development funds of the Universities of Sheffield and the Sorbonne. I also owe most sincere and earnest thanks to the members of the staff at the archives and libraries I visited – in Moscow: RGALI, Dmitri Shostakovich Family Archives, Vakhtangov Theatre Archives, VTO Library and Archives, Moscow Art Theatre Museum, Glinka Museum, Bakhrushin State Theatre Museum, Russian State Library and Russian Composers’ Union; in St Petersburg: TsGALI, Manuscript Department of NLR, State Theatre Library and Alexandrinsky Theatre. I am obliged to a great many people and friends for sharing their expertise and knowledge, without which this dissertation would not have been possible. I would like to express my sincere and heartfelt gratitude to (in alphabetical order and without titles): Alexei Bartoshevich, Yan Brailowsky, Philip Bullock, the late Iurii Butsko, Olga Digonskaia, 5 Marina Frolova-Walker, Boris Gaydin, Dmitri Gorbatov, Mehdi Hosseini, Natalia Khomenko, Liudmila Kovnatskaia, Alexander Kozintsev, Nelly Kravetz, Sergei Kudriavtsev, Vakhtang Machavariani, Vladimir Makarov, Irena Makaryk, Mariia Malkina, Simon Morrison, Vladimir Orlov, Béatrice Picon-Vallin, Roberto Polastri, the late Irina Prikhodko, Serge Prokofieff Jn., Sergei Radlov, Marina Raku, Aleksei Semenenko, Laurence Senelick, Irina Shostakovich, Sergei Slonimsky, Anatoly Smeliansky, Maia Turovskaia, Dmitri Urnov, Marina Zabolotniaia and Nikolai Zakharov, Ales’ Zamkovskii. I am also grateful to Kim Axline Morgan, Jill Warren, Anastasia Kim, Erik Heine and Sen Suddhaseel for sharing their PhD dissertations with me, to Laetitia Debrez, Elke Albrecht and Pierre Chamaraux for their help and support, to James Hume for last-minute assistance with formatting, to Andrey Sidorenko for hospitality in Moscow, and to Carine Gutlerner for inspiration and music. There are four people that I simply cannot find words that would express my gratitude to them, for without them, their support, love and care, not only would this project not have happened but it would have had no sense. They are my lodestars: my parents Haydeh and Farshid, my brother Arash, and the love of my life, David Fanning. To them I dedicate this work and address Shakespeare’s words: ‘I can no other answer make but thanks, and thanks; and ever thanks’. 6 Note on Transliteration, Abbreviations and Sources Throughout this dissertation I have used the Library of Congress system of transliteration of Russian words, without diacritics. Names appear in this way unless they are already known in the West, in which case they are given in their Anglophone forms (Francophone for the substantial summary/résumé substantiel). If a name is part of bibliographical information, it appears according to the Library of Congress rules, unless that information itself uses a different form; thus, for example, the main text refers to Meyerhold throughout, but as part of a Russian title or Russian bibliographical entry the same name appears as Meierkhol’d. All quotations are reproduced with their original spelling and transliteration. All translations from secondary sources are the author’s own unless otherwise indicated. Abbreviations The standard format of Russian archival description is f. (fond or collection), op. (opis or file or register), ed. or ed. khr. (edinitsa khraneniia, item or file) or d. (delo, item) or no. (number). Verso is used to indicate a sheet’s reverse side and corresponds to the Russian ob. (oborot). MKhAT: Moskovskii khudozhestvennyi (akademicheskii) teatr [Moscow Art Theatre] NLR: Otdel rukopisei Rossiiskoi natsional’noi biblioteki, St Petersburg [Manuscript department of the National Library of Russia] R: Rehearsal number (in musical scores) RGALI: Rossiiskii gosudarstvennyi arkhiv literatury i isskustv, Moscow [Russian State Archive of Literature and the Arts] TsGALI: Tsentral’nyi gosudarstvennyi arkhiv literatury i iskusstv, St Petersburg [Central State Museum of Literature and Arts] VTO: Vsesoiuznoe teatral’noe obshchestvo [All-Soviet Theatre Society] Sources The source used for the English text of Hamlet is the Arden Shakespeare, Ann Thompson and Neil Taylor (eds.), Hamlet, rev. edn., London, Bloomsbury, 2016 (orig. pub. 2006). 7 8 Résumé substantiel L’idée de ce projet remonte à ma première rencontre avec Shakespeare : au début des années 1990, lors d’une séance à ‘Asr-é Djadid’ – un petit cinéma ‘underground’ à côté de l’Université de Téhéran – j’ai vu la version cinématographique d’Hamlet par Grigori Kozintsev avec la musique de Chostakovitch. Le film était doublé en persan et partiellement censuré pour être en accord avec les règles imposées par le régime islamiste. Deux jours plus tard, j’y retournais pour voir le film une seconde fois. Je remarquais alors que la scène de folie d’Ophélie était plus courte, plus censurée, et que la musique de film de Chostakovitch était très fragmentée. Je n’avais donc d’autre choix que de chercher cette musique ainsi que le texte de Shakespeare pour m’en assurer. Des années plus tard, après mes études à l’Académie Nationale de Musique d’Ukraine à Kiev - quand j’ai enfin pu comprendre le film en langue russe directement - j’ai pu mieux apprécier le travail du réalisateur, du traducteur (Pasternak) et du compositeur. À partir de ce moment, je ne pouvais plus lire le texte d’Hamlet sans revoir, dans mon imagination, les scènes du film et sans entendre la musique de Chostakovitch. Une question se forma dans mon esprit : aurais-je si fortement aimé Hamlet si je ne l’avais pas découvert au travers du prisme russe/soviétique ? Est-ce Hamlet de Shakespeare ou l’appropriation russe de cette pièce qui m’a autant troublée ? L’Hamlet russe est-il une entité à part et indépendante de l’Hamlet de Shakespeare ? Ainsi est né le projet d'une recherche sur la performance d’Hamlet en Russie en privilégiant la question de l’interprétation et de l’identité nationale russe. Mes formations en musique et en théâtre et mes connaissances de la langue et de la culture russe, me permettent d’étudier les mises en scène et mises en musique d’Hamlet qui forment la ligne directrice de mes recherches. Cependant, lors d’un premier séjour de recherches en Russie en 2012, je compris que le sujet était beaucoup trop vaste à aborder en détails. Sans une limitation du corpus dans un contexte historique plus étroit et sans choisir des cas de figure représentatifs, mon projet risquait de devenir un simple catalogue non-exhaustif. Encore une fois, c’était la musique en général et celle de Chostakovitch en particulier qui m’ont servi de guide. Ainsi, je décidais de retenir pour ma thèse la première création de Chostakovitch sur le texte de Shakespeare, sa musique pour la mise en scène scandaleuse d’Hamlet par Nikolai Akimov au Théâtre Vakhtangov de Moscou en 1932, et d’y ajouter la rencontre de Prokofiev avec cette tragédie à 9 travers sa musique pour l’Hamlet de Sergei Radlov à Léningrad en 1938. Le contexte historique devint ainsi évident : l’ère stalinienne. Mon projet devait donc prendre en compte le rôle de la musique vis-à-vis du texte, de la mise en scène, ainsi que le climat politico- culturel de l’époque. Mais il fallait d’abord situer ce projet dans un contexte plus large en donnant un aperçu du rôle de la musique dans les drames de Shakespeare, et des œuvres musicales dont les textes de Shakespeare ont été la source d'inspiration La musique dans Shakespeare et notamment Hamlet Bien qu’une partie de la musique inspirée par Shakespeare constitue une part importante du répertoire de concert, les études qui traitent spécifiquement ce sujet – ‘Shakespeare et la musique’– sont étonnamment peu nombreuses.
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