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The Poet Takes Himself Apart on Stage: Vladimir Mayakovsky's
The Poet Takes Himself Apart on Stage: Vladimir Mayakovsky’s Poetic Personae in Vladimir Mayakovsky: Tragediia and Misteriia-buff By Jasmine Trinks Senior Honors Thesis Department of Germanic & Slavic Languages and Literatures University of North Carolina at Chapel Hill March 2015 Approved: ____________________________ Kevin Reese, Thesis Advisor Radislav Lapushin, Reader CONTENTS INTRODUCTION………………………………………………1 CHAPTER I: Mayakovsky’s Superfluous Sacrifice: The Poetic Persona in Vladimir Mayakovsky: Tragediia………………….....4 CHAPTER II: The Poet-Prophet Confronts the Collective: The Poetic Persona in Two Versions of Misteriia-buff………………25 CONCLUSION…………………………………………………47 BIBLIOGRAPHY………………………………………………50 ii INTRODUCTION In his biography of Vladimir Mayakovsky, Edward J. Brown describes the poet’s body of work as a “regular alternation of lyric with political or historical themes,” noting that Mayakovsky’s long lyric poems, like Человек [Man, 1916] and Про это [About That, 1923] are followed by the propagandistic Мистерия-буфф [Mystery-Bouffe, 1918] and Владимир Ильич Ленин [Vladimir Il’ich Lenin, 1924], respectively (Brown 109). While Brown’s assessment of Mayakovsky’s work is correct in general, it does not allow for adequate consideration of the development of his poetic persona over the course of his career, which is difficult to pinpoint, due in part to the complex interplay of the lyrical and historical in his poetry. In order to investigate the problem of Mayakovsky’s ever-changing and contradictory poetic persona, I have chosen to examine two of his plays: Владимир Маяковский: Трагедия [Vladimir Mayakovsky: A Tragedy, 1913] and both the 1918 and 1921 versions of Mystery- Bouffe. My decision to focus on Mayakovsky's plays arose from my desire to examine what I termed the “spectacle-ization” of the poet’s ego—that is, the representation of the poetic persona in a physical form alive and on stage. -
„Lef“ and the Left Front of the Arts
Slavistische Beiträge ∙ Band 142 (eBook - Digi20-Retro) Halina Stephan „Lef“ and the Left Front of the Arts Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access S la v istich e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON JOHANNES HOLTHUSEN • HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 142 VERLAG OTTO SAGNER MÜNCHEN Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 HALINA STEPHAN LEF” AND THE LEFT FRONT OF THE ARTS״ « VERLAG OTTO SAGNER ■ MÜNCHEN 1981 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Bayerische Staatsbibliothek München ISBN 3-87690-186-3 Copyright by Verlag Otto Sagner, München 1981 Abteilung der Firma Kubon & Sagner, München Druck: Alexander Grossmann Fäustlestr. 1, D -8000 München 2 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 To Axel Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 CONTENTS Introduction ................................................................................................ -
574100 Itunes Shostakovich
SHOSTAKOVICH The Bedbug • Love and Hate WORLD PREMIERE RECORDINGS Deutsche Staatsphilharmonie Rheinland-Pfalz Mark Fitz-Gerald Mannheim Opera Choir • Dani Juris Dmitry Shostakovich (1906–1975) Dmitry Shostakovich (1906–1975) The Bedbug, Op. 19 on this production also brought him into a close, but The Bedbug, Op. 19 (1929) somewhat unbalanced friendship with Meyerhold himself, Incidental Music to the comedy The Bedbug by Vladimir Mayakovsky (1893–1930) The first performance of The Bedbug , sarcastically who adored his new young protégé but always wanted to entitled a ‘faerie comedy in nine scenes’ (anything further dominate the relationship, as hilariously documented by Part One – The Year 1929 Part Two – Fifty Years Later: The Year 1979 1 0 from ‘faerie’ than this knockabout farce it would be hard to Shostakovich in several letters of the period. 2 March 2:33 ! Scene in the Public Garden 2:50 imagine), took place on 12 February 1929 at the By his own account, the composer was less Meyerhold Theatre in Moscow. The occasion was an impressed by the flamboyant figure of Mayakovsky, 3 Foxtrot (orch. M. Fitz-Gerald) 2:26 @ March of the Pioneers 2:12 Galop (orch. M. Fitz-Gerald) 2:22 Flourish 0:09 event, not least because it involved the collaboration of privately telling friends later in life that he couldn’t bear the 4 # some of the most prominent Soviet artists of the time. The famous poet’s vanity and hypocrisy. In public, he Waltz No. 1 (orch. M. Fitz-Gerald) 0:58 March of the City Elders 0:49 5 $ author, Vladimir Mayakovsky (1893–1930), was the most contented himself with a well-honed anecdote about how 6 Intermezzo 3:11 % Waltz No. -
Theatrical Spectatorship in the United States and Soviet Union, 1921-1936: a Cognitive Approach to Comedy, Identity, and Nation
Theatrical Spectatorship in the United States and Soviet Union, 1921-1936: A Cognitive Approach to Comedy, Identity, and Nation Dissertation Presented in Partial Fulfillment of the Requirements for the Doctor of Philosophy in the Graduate School of The Ohio State University By Pamela Decker, MA Graduate Program in Theatre The Ohio State University 2013 Dissertation Committee: Lesley Ferris, Advisor Jennifer Schlueter Frederick Luis Aldama Copyright by Pamela Decker 2013 Abstract Comedy is uniquely suited to reveal a specific culture’s values and identities; we understand who we are by what and whom we laugh at. This dissertation explores how comic spectatorship reflects modern national identity in four theatre productions from the twentieth century’s two rising superpowers: from the Soviet Union, Evgeny Vakhtangov’s production of Princess Turandot (1922) and Vsevolod Meyerhold’s production of The Bedbug (1929); from the United States, Eubie Blake and Noble Sissle’s Broadway production of Shuffle Along (1921) and Orson Welles’ Federal Theatre Project production of Horse Eats Hat (1936). I undertake a historical and cognitive analysis of each production, revealing that spectatorship plays a participatory role in the creation of live theatre, which in turn illuminates moments of emergent national identities. By investigating these productions for their impact on spectatorship rather than the literary merit of the dramatic text, I examine what the spectator’s role in theatre can reveal about the construction of national identity, and what cognitive studies can tell us about the spectator’s participation in live theatre performance. Theatre scholarship often marginalizes the contribution of the spectator; this dissertation privileges the body as the first filter of meaning and offers new insights into how spectators contribute and shape live theatre, as opposed to being passive observers of an ii already-completed production. -
Anatolii Lunacharskii and the Soviet Theater
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2015 ANATOLII LUNACHARSKII AND THE SOVIET THEATER John E. Dunkum University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Part of the Arts and Humanities Commons Let us know how access to this document benefits ou.y Recommended Citation Dunkum, John E., "ANATOLII LUNACHARSKII AND THE SOVIET THEATER" (2015). Graduate Student Theses, Dissertations, & Professional Papers. 4466. https://scholarworks.umt.edu/etd/4466 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. ANATOLII LUNACHARSKII AND THE SOVIET THEATER By John Edmund Dunkum B.A. Russian, University of Montana, Missoula, MT, 2011 Thesis presented in partial fulfillment of the requirements for the degree of Master of Arts in History The University of Montana Missoula, MT May 2015 Approved by: Sandy Ross, Dean of the Graduate School Graduate School Dr. Robert H. Greene, Chairman, Department of History Dr. Richard Drake, Department of History Dr. Clint Walker, Department of Modern and Classical Languages and Literatures i Abstract Dunkum, John, Master of Arts, Spring 2015 History Anatolii Lunacharskii and the Soviet Theater Committee Members: Robert H. Greene, Richard Drake, Clint Walker My thesis is primarily concerned with tracing the Soviet theater’s trajectory from a relatively polyphonic, even kaleidoscopic, fearless art form to a narrower, formulaic one under Stalin at the end of the1920s. -
UMI Films the Original Text Directly from the Copy Submitted
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ■Accessing U the Worldto MInformation since I 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA Order Number 6813231 The drama of Majakovskij: A study of tho plays and dramatic elements in the poetry of Vladimir Mnj&kovskU Boyle, Eloise M., Ph.D. The Ohio State University, 1988 Copyright ©1088 by Boyle, Eloise M. All rights reserved. UMI 300 N. Zoeb Rd. Ann Atbor, MI 48106 THE DRAMA OF MAJAKOVSKIJ: A STUDY OF THE PLAYS AND DRAMATIC ELEMENTS IN THE POETRY OF VLADIMIR MAJAKOVSKIJ DISSERTATION Presented In Partial Fulfillment of th e Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Eloise M. -
Reassessing the Prospects of the Soviet Experiment in the Nep Literary Contexts of Bulgakov’S Heart of a Dog and Mayakovsky’S the Bedbug
RECOGNIZING THE FACE OF THE CLASS ENEMY: REASSESSING THE PROSPECTS OF THE SOVIET EXPERIMENT IN THE NEP LITERARY CONTEXTS OF BULGAKOV’S HEART OF A DOG AND MAYAKOVSKY’S THE BEDBUG Diane Elliott Caton A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Slavic Languages and Literatures. Chapel Hill 2006 Approved by Advisor: Beth Holmgren Reader: Christopher Putney Reader: Ivana Vuletic ABSTRACT DIANE ELLIOTT CATON: Recognizing the Face of the Class Enemy: Reassessing the Prospects of the Soviet Experiment in the NEP Literary Contexts of Bulgakov’s Heart of a Dog and Mayakovsky’s The Bedbug (Under the direction of Beth Holmgren) This comparative analysis focuses on Mikhail Bulgakov’s Heart of a Dog (1925) and Vladimir Mayakovsky’s The Bedbug (1929). After providing a brief historical and literary context for these two ideologically opposed authors, this thesis explores both works’ representations of the 1920s intelligentsia specialist and his role as a behavioral model and catalyst in the revolutionary evolution of the mythic new Soviet man. Additionally, the fate of Bulgakov’s newly constructed Soviet proletarian specimen Comrade Sharikov is considered in reference to that of the defrosted 1929 Prisypkin in Mayakovsky’s vision of the scientifically regulated Soviet utopia of the future. Ultimately, this thesis aims to explain the surprisingly similar tone of ambivalent acceptance of the New Economic Policy (NEP) status quo that emerges in both of these works within the framework of Bulgakov’s unaltered pre- revolutionary perspective and Mayakovsky’s growing disillusionment with the course of the Soviet state. -
SUMMARY Victorious Laughter (An Attempt at a Comparative Genre
SUMMARY Victorious laughter (An attempt at a comparative genre analysis of V. V. Mayakovski's dramas) The work of the indefatigable seeker for new artistic approaches, V. V. Mayakovski, was developed and shaped in the mould of progressive Russian and revolutionary Soviet art. Mayakovski was an innovator not only in poetry but also in the field of theatrical and dramatic arts. Each of his plays — from his youthful tragedy Vladimir Mayakovski (1913), full of life's absurdity, sadness but also rebellion against the old order, his Mystery-Bouffe (1918) celebrating the revolution in the language of biblical legends and similes, to the grotesque-fantastic and satirico-political come dies The Bedbug (1828) and The Bathhouse (1929) exposing the abuses of the new, socialist world — was an artistic event marked by boldness of ideas, formal novelty and artistic mastery. Mayakovski's drama tends to subjects of grand scale, metaphorical imagery, fantasticality, grotesqueness and sharp political satire, to a theatre conceived as an attractive spectacle combining different genres and types of spectacular art. Mayakovski's dramatic art is born in the pre-revolutionary period. His dramatic debut — the tragedy Vladimir Mayakovski, summarizing the ideo- artistic innovations of the poef s cycle of early verses dedicated to the theme of capitalist town, appeared in 1913. Connected with the searching of the futurists in the field of theatre, it crowned in a certain way the artistic expansions of dramatic innovators of the first decades of the 20th century — leaving aside, of course, the difference in poetical perception of life and theoretical criteria — who were opening up the path for the new conception and style of dramatic art (Blok, Bryusov, Andreyev, Meyerkhold). -
Khlebnikov Vs. Mayakovsky: a Budetlianin and a Futurist in the Mirror of Their Verbal Painting
Khlebnikov vs. Mayakovsky: a Budetlianin and a Futurist in the Mirror of Their Verbal Painting Anastasia Kostetskaya (PhD candidate in the Department of Slavic and East European Languages and Cultures at The Ohio State University) [email protected] Abstract The visual aspect of writing is important for the reader’s understanding of the author’s message. Poetic works created by fellow-futurists Velimir (Vladimir) Khlebnikov and Vladimir Mayakovsky produce very different visual images, which require an imaginative employment of different artistic materials. In the case of Khlebnikov, it is watercolor, while Mayakovsky’s verbal images are visualized as cardboard collages. Understanding the writers’ philosophies about the nature of creativity contributes to the readers’ perception of their visual imagery. Since Khlebnikov and Mayakovsky belong to the two poles of the Russian avant-garde movement – Budetlianstvo and Futurism - the two artistic mediums that lend themselves for visualizing their poetry can be looked at as encompassing the essential but opposing features of the artistic spectrum: transparency through the medium of watercolor vs. collage and the physical properties of constructivist tectonics. In numerous scholarly works devoted to Russian Futurism the names of Velimir Khlebnikov and Vladimir Mayakovsky regularly appear next to each other as the central figures of this movement (Stahlberger, 1964; Brown, 1973; Jangfeldt, 1976; Jakobson, 1979; Janecek, 1984; Grigoriev, 2000). Their poetic manifestoes were frequently co-signed and their poetry was also often published under one cover. In spite of this literary “fellowship,” in their poetics, they represent the extremes of the Futurist poetic spectrum: Budetlianstvo and Cubo- Futurism. An examination of the basic unity and, above all, of the tension between their poetics demonstrates some aspects of the conceptual and aesthetic conflict between Budetlianstvo and Futurism, with Khlebnikov representing the former and Mayakovsky the latter. -
The Suicide of Vladimir Mayakovsky
Fatal Futurist: The Suicide of Vladimir Mayakovsky Arguably one of the most talented and controversial poets in Russia’s history, Vladimir Mayakovsky gave birth to a literary style all his own, rising to prominence under the newly formed Soviet regime. Rushing to meet the revolution with zealous determination he found himself increasingly marginalized in the Soviet literary scene as a “fellow traveler”, only to be posthumously declared “the best and the most talented poet” of the Soviet epoch by none other than Stalin. Mayakovsky’s suicide has fascinated scholars for decades and the reasons for it are still debated today; initially some people speculated he had been playing Russian roulette, others suspected foul play. In this paper I investigate the possible motives behind Mayakovsky’s suicide, arguing that it was the failure of the revolution that drove him to kill himself. This investigation requires a brief analysis of his literary evolution to understand how Vladimir Mayakovsky rose to the heights of Soviet literary culture by breaking from ‘bourgeois’ tradition. For perspective, special attention will be paid to the societal and anthropological conventions of suicide. In the final part of this paper I will discuss how Mayakovsky’s legacy was appropriated by the Stalinist regime in order to create a symbol of Soviet cultural pride, resulting in a denial and misinterpretation of his works- Mayakovsky’s second death. Early Life Vladimir Vladimirovich Mayakovsky was born on July 7, 1893 in Baghdadi, Georgia (later renamed Mayakovsky in his honor). His father, Vladimir Konstantinovich was in the government service. Mayakovsky remained close to his mother, Aleksandra Alekseevna, throughout his life, in no doubt due to his father’s premature death from blood poisoning in 1906. -
Vladimir Mayakovsky: the Language of Revolution
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Vladimir Mayakovsky: The Language of Revolution By Rosy Patience Carrick PhD The University of Sussex September 2016 I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature: R. Carrick UNIVERSITY OF SUSSEX ROSY PATIENCE CARRICK PhD CRITICAL THEORY VLADIMIR MAYAKOVSKY: THE LANGUAGE OF REVOLUTION My thesis addresses two significant misrepresentations in western criticism and translation of Mayakovsky that have developed since his death in 1930: his diminished status as a Marxist poet; and his negative attitude towards everyday life (byt). Part One (‘Mayakovsky and Marxism’) contests the consistent refusal in the west to acknowledge Mayakovsky as a Marxist poet and demonstrates instead, through a close examination of the specific terminology used in certain essays and poems by Mayakovsky in relation to that used by Karl Marx in Capital, not only that the poet is keenly engaged with and influenced by Marxist theory, but that he uses that theory explicitly to describe and imagine the production of ideal communist writing. -
1 Two Essays by Roman Jakobson Are Here Published in English Translation for the First Time. the English Titles of These Essays
1 Two essays by Roman Jakobson are here published in English Translation for the first time. The English titles of these essays are: ‘About Mayakovsky’s Later Lyrical Poems’ and ‘Dostoyevsky Echoed In Mayakovsky’s Work’. Edited by Dr Mary Coghill: Visiting Research Fellow Institute of English Studies (2013- 2015), School of Advanced Studies, University of London Fellow London Metropolitan University; email: [email protected] Translators: Elena Richard and Paul Jude Richard As the conclusion of research undertaken for the Visiting Research Fellowship the two essays are published as an Addendum to The Roman Jakobson Fellowship Colloquium Presentation 23rd October 2015 entitled: ‘The Development of Roman Jakobson’s semiotic interpretation of poetic form and function with special reference to his axial model of the poles of language: metaphor and metonymy; and the application of this developed model to the construction of city poetics with reference to Vladimir Mayakovsky’s poetry.’ Keywords: Roman Jakobson; Vladimir Mayakovsky; Fyodor Dostoyevsky; Formalism; poetry and poetics Copyright of these translations, with the kind permission of Professor Linda Waugh, Executive Director, Roman Jakobson Intellectual Trust, and the translators, Elena and Paul Jude Richard, rests with the editor, Dr Mary Coghill. The right of Dr Mary Coghill to be identified as the editor of this work has been asserted by her in accordance with the Copyrights, Designs and Patents Act 1988. All rights reserved. Reproduction of any part of the translations by permission of the Editor. The two essays by Roman Jakobson which are now presented in English translation for the first time were originally published in Russian, in one of the nine volumes (a tenth volume is under preparation, edited by Professor Linda Waugh) of Jakobson’s Selected Writings.