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Marina Davydova: Some Thoughts on Russian Theatre at the Turn of the Century
rtlb.ru russian theatre life in brief Marina DavyDova: Some ThoughTS on RuSSian Theatre aT The TuRn of The CenTuRy January 2008 White Dresses. “ouR pRoduCTionS aRe abSoluTely Safe.” The Russian theatre of the past decade has Throughout the nineties the Russian theatre been largely drawn into the orbit of the theatre existed in a distinctive kind of ghetto, making of Europe. Or it is rather the other way around – no attempts to digest aesthetically the rapidly European drama has turned out of the blue to changing reality: we are here all by ourselves, occupy the Russian theatre space to the effect all dressed in white, while the reality stinks of considerably changing the local theatrical and has nothing to do with us. Paradoxical as landscape. In terms of major theatrical forums it may sound, in the post-perestroika period Moscow has lately left far behind all the capi- we could claim to have Europe’s most asocial tals and mega cities of the world: the Chekhov public and theatre. In the Soviet times theatre Festival, the Territory, the NET, the Stanislavsky managed to substitute, no matter how clum- Season to mention just a few. In the context sily, for the civil society. But it clearly failed to of the current guest tour hullabaloo even the become an integral component of this spring- Golden Mask that is by definition (“national the- ing up new society that was offering a wider atre award and festival”) prescribed to cultivate range of freedoms. predominantly the national stage has scaled up The social and political affectation somehow to acquire the European dimension by bringing ran dry as the long-standing rules of play- along the productions of overseas dignitaries. -
A Man from Boulevard Des Capucines (1987) 6.30Pm Cine Alla Surikova
Melodia! Discovering Musicals From Russia and the Caucasus 22 January 2020 A Man from Boulevard des Capucines (1987) 6.30pm Cine Alla Surikova A Man from the Boulevard des Capucines (Russian: Chelovek s became one of the very few female directors of the comedy bulvara Kaputsinov) alludes directly to the Lumière brothers and genre to have a prominent voice in the Soviet film industry. their first cinema screening, famously projected onto the walls of a building in the Boulevard des Capucines in Paris in 1895. It The film itself stands on the crossroads of genre. On the one might be a surprising (and long) choice of title but this is a film side, it is an ‘eastern’ or ‘red western’ – a specifically cold war of surprises. After all, this 1987 Soviet musical is both a loving genre presenting films set in America's Wild West, but shot in homage to the birth of cinema and also one final ray of light the Asian part of the Soviet Union, or films presenting these from a golden age of Soviet musical comedy. parts of the Soviet Union through the aesthetics of a western. On the other hand, the film draws from the already established The connection to the Lumières comes about through the tradition of Soviet comedies, especially fantasy musical speech of protagonist Mr. John First (Johnny) played by the comedies, such as Ordinary Miracle (1978, also starring Andrei Soviet theatre and film star Andrei Mironov. Mironov, one of the Mironov) or Charodei (1982; which shares the female lead great Soviet stars, died the same year, making this his Aleksandra Yakovleva); and a broader tradition of allegorical penultimate film role. -
Cinema of the Thaw (1953 – 1967)
W&M ScholarWorks Arts & Sciences Book Chapters Arts and Sciences 11-15-2013 Cinema of the Thaw (1953 – 1967) Alexander V. Prokhorov College of William & Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/asbookchapters Part of the Film and Media Studies Commons, Modern Languages Commons, and the Slavic Languages and Societies Commons Recommended Citation Prokhorov, A. V. (2013). Cinema of the Thaw (1953 – 1967). Rimgaila Salys (Ed.), The Russian Cinema Reader: Volume II, The Thaw to the Present (pp. 14-33). Academic Studies Press. https://scholarworks.wm.edu/asbookchapters/86 This Book Chapter is brought to you for free and open access by the Arts and Sciences at W&M ScholarWorks. It has been accepted for inclusion in Arts & Sciences Book Chapters by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. C I N E M A O f THE THAW 1953–1967 Alexander Prokhorov Ironically, the era named the Cold War by the West, Russians titled the Thaw. The Russian name of the period comes from the title of Il’ia Ehrenburg’s 1954 novel, the publication of which signaled a change in Soviet cultural politics after Stalin’s death. In 1956, Nikita Khrushchev denounced the cult of Stalin in his Secret Speech at the Twentieth Party Congress. Because literature served Soviet culture as its most authoritative form of artistic production—and the most informed of new directions the Party was adopting—changes in literature translated into new cultural policies in other art forms. Cinema was by no means the first to experience the cultural Thaw, both because film production required a greater investment of time and resources and because, despite Vladimir Lenin’s famous dictum that cinema was “the most important of all arts,” film art stood below literature in the hierarchy of Soviet arts. -
Russkiy Mir Foundation and Rossotrudnichestvo—Are Based in Russia but Can Have Numerous Branches in the EU
The Bear in Sheep`s Clothing This paper sheds light on organisations operating in Europe that are funded by the Russian government, whether officially or unofficially. These include government-organised non-governmental organisations (GONGOs), non- The Bear in governmental organisations (NGOs) and think tanks. Their goal is to shift European public opinion towards a positive view of Russian politics and policies, and towards respect for its great power ambitions. In light of Russia’s annexation Sheep’s Clothing of Crimea and Russian aggression in Eastern Ukraine, the overt or covert support for these organisations must become a matter of concern to the EU. Russia’s Government-Funded Vladislava Vojtíšková, Vít Novotný, Hubertus Schmid-Schmidsfelden and Kristina Potapova Vladislava Vojtíšková, Organisations in the EU The EU’s politicians and citizens should look at the activities of the Russian GONGOs and think tanks as challenges that can help improve national and Vladislava Vojtíšková, Vít Novotný, EU-level decision-making mechanisms, increase transparency in policymaking Hubertus Schmid-Schmidsfelden and Kristina Potapova and deepen the involvement of citizens and civil society organisations in the democratic process. The paper recommends, among other measures, fostering the EU’s own narrative, which is based on human rights, freedom and equality; supporting pro-democratic civil society so that Europeans become more resistant to Russian propaganda; and increasing transparency requirements for NGOs and lobbyists by setting up a mandatory lobbying register at the EU level. The Bear in Sheep’s Clothing Russia’s Government-Funded Organisations in the EU Vladislava Vojtíšková, Vít Novotný, Hubertus Schmid-Schmidsfelden and Kristina Potapova Credits Wilfried Martens Centre for European Studies Rue du Commerce 20 Brussels, BE - 1000 The Wilfried Martens Centre for European Studies is the political foundation and think tank of the European People’s Party (EPP), dedicated to the promotion of Christian Democrat, conservative and like-minded political values. -
Mikhail Pletnev Peter Ilyich Tchaikovsky (1840-1893) “A Step Forward”
Peter Ilyich Tchaikovsky SYMPHONY NO.3IN D MAJOR, OP.29 CORONATION MARCH RUSSIAN NATIONAL ORCHESTRA Mikhail Pletnev Peter Ilyich Tchaikovsky (1840-1893) “A step forward” Symphony No. 3 in D Major Op. 29 (1875) owadays, Tchaikovsky’s first three symphonies seldom appear on more reminiscent of the Russian character. In the fourth movement 1 Introduzione e Allegro – Moderato assai the concert programmes, whereas his symphonies four to six – in Tchaikovsky conjures up a fairy-like Scherzo (in 2/4 time), which is at (Tempo di marcia funebre)-Allegro brillante 13. 58 N other words, the symphonies generally recognized as masterpieces – are times evocative of Mendelssohn. And the finale, with its “Tempo di 2 Alla tedesca – Allegro moderato e semplice 6. 25 3 Andante – Andante elegiac 10. 55 regularly included. And thus the three early symphonies share a fate polacca” (to which the work owes its unofficial title of Polish, following a 4 Scherzo – Allegro vivo 5. 45 that none of them have necessarily earned. After all, each in its own performance in London under Sir August Manns), is a spirited rondo in 5 Finale – Allegro con fuoco (tempo di Polacca)-Presto 8. 55 individual way is a worthwhile symphony: the composer certainly did which the polonaise leads the entire work to a tumultuous conclusion. not consider them to be preliminary works, a type of precursor to the Both this final movement and the first movement include contrapuntal 6 Coronation March (1883) 5. 46 later symphonies. From 1866 to 1878, Tchaikovsky taught harmony at the techniques, as if Tchaikovsky was attempting to provide the “suite” with Russian National Orchestra Moscow Conservatoire and during this period, he composed – among greater symphonic weight. -
11Th Annual of the Trebbia European Awards and Benefi T Cheques Trebbia on March 13Th, 2011
The Gala Evening was held under the auspices of Miroslava Němcová, Chairwoman of the Chamber culture event of Deputies of the Parliament of the Czech Republic and Jiří Besser, Minister of Culture of the Czech Republic. IN COOPERATION WITH LEADERS MAGAZINE The Municipal House, Prague th 11 Annual of the Trebbia European Awards and Benefi t Cheques Trebbia on March 13th, 2011 From left: Jan Černý, Director, A-Keramika Group, Prague From left: Daniel Dvořák, Scenographer and Director, Region, Sergey B. Kyselev, Ambassador of the Russian Fe- National Theatre in Brno and Michael W. Pospíšil, deration, MUDr. Jiří Besser, Minister of Culture, and Oleg General Director, Czech Centres (Laureate of Trebbia Tabakov, (Russia) Actor and Laureate of Trebbia Award 2011 Award 2011) Eliška Coolidge-Hašková, former Assistant to five American presidents and Member of INC Trebbia during the Laudatio speech From left: Klaus von Trotha, former Minister of Culture From left: Jiří Menzel, Film Director, Marcela Mojtová, of Baden-Württemberg and Jan Světlík, Chairman of Vice Chairwoman of the Board, EUROKIM a.s., Brati- 2 the Board and General Director, Vítkovice Holding and slava, and János Bán, (Hungary) Actor and Laureate of Laureate of Trebbia Award 2011 Trebbia Award 2011 Trebbia.indd 2 21.3.2011 10:44:56 From left: MUDr. Jiří Besser, Minister of Culture, Mgr. Bc. Jiří Besser, Lawyer, Weil, Gotshal & Manges s.r.o., PhDr. MgA. Miro Smolák, Founder, Trebbia, and Miroslava Němcová, From left: Ing. Radomír Šimek, President, DTIHK – JUDr. Aleš Janků, Managing Director, Chairwoman, Chamber of Deputies of the Parliament ČNOPK with his wife and Dr. -
Jewishness: Expression, Identity, and Representation Offprint
LITJCS001prelspi-xiv 25.03.2008 09:58am Page iii Jewish Cultural Studies volume one Jewishness: Expression, Identity, and Representation Edited by SIMON J. BRONNER Offprint Oxford . Portland, Oregon The Littman Library of Jewish Civilization 2008 LITJCS07p175-194 28.01.2008 08:12pm Page 175 seven Ambivalence and Identity in Russian Jewish Cinema olga gershenson ‘The Jew is ambivalence incarnate.’ zygmunt bauman Historically, the representation of Jews in Soviet national cinema (when and where it has been allowed) has been a litmus test for the Jewish position in Rus- sian culture. Jews have been variously, and paradoxically, stereotyped: they could simultaneously symbolize backwardness (as ignorant shtetl dwellers) or progres- siveness (as the learned ‘people of the book’); they could stand for emasculated weakness (as victims of pogroms and genocide) or virile leadership (as rabbis or commissars); they could be seen, in short, as heroes or anti-heroes (Bartov 2005). For scholars of contemporary Jewish cultures, film therefore provides eloquent material for research on identities and their construction and reconstruction. According to Stuart Hall (1990), cinema is a potent medium in which identities are produced. Rather than being a ‘second-order mirror held up to reflect what already exists’, it is ‘a form of representation which is able to constitute us as new kinds of subjects, and thereby enable us to discover places from which to speak’ (1990: 236–7). Moreover, because of their profound influence on society and cul- ture, films constitute a source of the visual memory transmitted to future genera- tions (Portuges 2005). Taking these formulations as a starting point, I will approach the subject of Russian Jewish identity by studying representations of Jews in Russian national cinema. -
Urals Pathfinder: Theatre in Post-Soviet Yekaterinburg
URALS PATHFINDER: THEATRE IN POST-SOVIET YEKATERINBURG Blair A. Ruble KENNAN INSTITUTE OCCASIONAL PAPER # 307 The Kennan Institute is a division of the Woodrow Wilson International Center for Scholars. Through its programs of residential scholarships, meetings, and publications, the Institute encourages scholarship on the successor states to the Soviet Union, embracing a broad range of fi elds in the social sciences and humanities. The Kennan Institute is supported by contributions from foundations, corporations, individuals, and the United States Government. Kennan Institute Occasional Papers The Kennan Institute makes Occasional Papers available to all those interested. Occasional Papers are submitted by Kennan Institute scholars and visiting speakers. Copies of Occasional Papers and a list of papers currently available can be obtained free of charge by contacting: Occasional Papers Kennan Institute One Woodrow Wilson Plaza 1300 Pennsylvania Avenue, NW Washington, D.C. 20004-3027 (202) 691-4100 Occasional Papers published since 1999 are available on the Institute’s web site, www.wilsoncenter.org/kennan This Occasional Paper has been produced with the support of the George F. Kennan Fund.The Kennan Institute is most grateful for this support. The views expressed in Kennan Institute Occasional Papers are those of the authors. Cover photo (above): “Kolyada Theatre at Night, Turgenev Street, Ekaterinburg, Russia.” © 2010 Kolyada Theatre Cover photo (below): “Daytime View of Kolyada Theatre, Turgenev Street, Ekaterinburg, Russia.” © 2006 Kolyada Theatre © 2011 Woodrow Wilson International Center for Scholars, Washington, D.C. www.wilsoncenter.org ISBN 1-933549-77-7 WOODROW WILSON INTERNATIONAL CENTER FOR SCHOLARS Jane Harman, President, Director, and CEO BOARD OF TRUSTEES Joseph B. -
An Ounce of Discretion Is Worth a Pound of Learning
STRATEGIES FOR BUSINESS IN MOSCOW An ounce of discretion is worth a pound of learning A PROPOS It happened a little over twenty years ago. At the time, For four years, the city has been successfully imple- I was working for the international department at a menting the state program “Safe City,” which will last newspaper in Moscow. I was asked to interview some through 2018. According to official data, the number of big chief from the Moscow police force, who had just homicides and homicide attempts has decreased by come back from a work trip during which he visited 21 percent since the program was introduced, the and talked with colleagues in Toronto. I remember how number of robberies and vehicle hijacking incidents excited he was to tell me about how professional and dropped by 32 percent and the number of apartment efficient the Canadian police force was. But more than burglaries has decreased by 30 percent. Right now, anything else, I was struck by a sudden confession the for example, there are over 140,000 video surveillance chief made: “When I was in Toronto, I felt safer walking cameras operating in Moscow, including in residential outside than I do on the streets of Moscow.” buildings, courtyards, schools, public areas, roads and retail outlets. These video surveillance cameras are used The nineties were here - a period of time during which to record and investigate 70 percent of violations and violent crime in Russia skyrocketed. When I passed on crimes committed in the Russian capital. the interview to the editor, I thought for sure that they would take this part of the interview out. -
Film Production and Co-Production in Russia, and the Export of Russian Films Abroad
A publication by the European Audiovisual Observatory FILM PRODUCTION AND CO-PRODUCTION IN RUSSIA, AND THE EXPORT OF RUSSIAN FILMS ABROAD September 2016 Director of Publication: Press and Public Relations: Susanne Nikoltchev, Executive Director Alison Hindhaugh, [email protected] Editors: Publisher: Julio Talavera Milla, Gilles Fontaine, Depart- European Audiovisual Observatory ment for Information on Markets and Financ- 76, Allée de la Robertsau, 67000 Strasbourg, ing, European Audiovisual Observatory France www.obs.coe.int Chief Editor: Tel.: +33 (0)3 90 21 60 00 Xenia Leontyeva Fax: +33 (0)3 90 21 60 19 Section Authors: Chapter 1: Xenia Leontyeva Please quote this publication as Chapter 2, Sections 1–2: Julia Trifonova, “Film Production and Co-Production in Russia, Alexander Luzhin, Xenia Leontyeva and the Export of Russian Films Abroad” Chapter 2, Sections 3–4: Xenia Leontyeva, Tatyana Gorskaya, Valeriy Kustov © European Audiovisual Observatory (Council Chapter 3: Victoria Ivanova, of Europe), Strasbourg, 2016 Xenia Leontyeva Opinions expressed in this publication are Translation and proof-reading: personal and do not necessarily represent the Eclectic Translations views of the Observatory, its members, or the Council of Europe. Layout: Irina Shmidt A publication by the European Audiovisual Observatory FILM PRODUCTION AND CO-PRODUCTION IN RUSSIA, AND THE EXPORT OF RUSSIAN FILMS ABROAD September 2016 European Audiovisual Observatory Council of Europe Table of Contents EXECUTIVE SUMMARY 6 INTRODUCTION 12 1. FILM PRODUCTION IN RUSSIA: INSTITUTIONAL FRAMEWORK 14 1.1. Legislative changes introduced in 2015−2016 14 1.2. Proposed legislation 17 2. QUANTITATIVE RESEARCH 20 2.1. Film production in Russia 20 2.1.1. -
Opinions of Film Critics and Viewers
Alexander Fedorov 100 most popular Soviet television movies and TV series: opinions of film critics and viewers Moscow, 2021 Fedorov A.V. 100 most popular Soviet television movies and TV series: opinions of film critics and viewers. Moscow: "Information for all", 2021. 144 p. What does the list of the hundred most popular Soviet television films and TV series look like? How did the press and viewers evaluate and rate these films? In this monograph, for the first time, an attempt is made to give a panorama of the hundred most popular Soviet television films and serials in the mirror of the opinions of film critics, film critics and viewers. The monograph is intended for high school teachers, students, graduate students, researchers, film critics, film experts, journalists, as well as for a circle of readers who are interested in the problems of cinema, film criticism and film sociology. Reviewer: Professor M.P. Thselyh. © Alexander Fedorov, 2021. 2 TABLE OF CONTENTS Introduction ………………………………….................................................................................... 4 100 most popular Soviet television movies and TV series: opinions of film critics and viewers ……………………………........................................................................................... 5 Interview on the release of the book "One Thousand and One Highest Grossing Soviet Movie: Opinions of Film Critics and Viewers"…………………………………………………………….. 119 List of "100 most popular Soviet television films and TV series.......................................... 125 About -
Urals Pathfinder: Theatre in Post-Soviet Yekaterinburg
URALS PATHFINDER: THEATRE IN POST-SOVIET YEKATERINBURG Blair A. Ruble KENNAN INSTITUTE OCCASIONAL PAPER # 307 The Kennan Institute is a division of the Woodrow Wilson International Center for Scholars. Through its programs of residential scholarships, meetings, and publications, the Institute encourages scholarship on the successor states to the Soviet Union, embracing a broad range of fi elds in the social sciences and humanities. The Kennan Institute is supported by contributions from foundations, corporations, individuals, and the United States Government. Kennan Institute Occasional Papers The Kennan Institute makes Occasional Papers available to all those interested. Occasional Papers are submitted by Kennan Institute scholars and visiting speakers. Copies of Occasional Papers and a list of papers currently available can be obtained free of charge by contacting: Occasional Papers Kennan Institute One Woodrow Wilson Plaza 1300 Pennsylvania Avenue, NW Washington, D.C. 20004-3027 (202) 691-4100 Occasional Papers published since 1999 are available on the Institute’s web site, www.wilsoncenter.org/kennan This Occasional Paper has been produced with the support of the George F. Kennan Fund.The Kennan Institute is most grateful for this support. The views expressed in Kennan Institute Occasional Papers are those of the authors. Cover photo (above): “Kolyada Theatre at Night, Turgenev Street, Ekaterinburg, Russia.” © 2010 Kolyada Theatre Cover photo (below): “Daytime View of Kolyada Theatre, Turgenev Street, Ekaterinburg, Russia.” © 2006 Kolyada Theatre © 2011 Woodrow Wilson International Center for Scholars, Washington, D.C. www.wilsoncenter.org ISBN 1-933549-77-7 WOODROW WILSON INTERNATIONAL CENTER FOR SCHOLARS Jane Harman, President, Director, and CEO BOARD OF TRUSTEES Joseph B.