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The Role of Stanislavsky and the Moscow Art Theatre's 1923 And
CULTURAL EXCHANGE: THE ROLE OF STANISLAVSKY AND THE MOSCOW ART THEATRE’S 1923 AND1924 AMERICAN TOURS Cassandra M. Brooks, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Olga Velikanova, Major Professor Richard Golden, Committee Member Guy Chet, Committee Member Richard B. McCaslin, Chair of the Department of History Mark Wardell, Dean of the Toulouse Graduate School Brooks, Cassandra M. Cultural Exchange: The Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours. Master of Arts (History), August 2014, 105 pp., bibliography, 43 titles. The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge. -
NADINE NATOV Theatrical Novel
NADINE NATOV Theatrical Novel: Bulgakov's Tragicomic Vision of his Theatrical Career Mikhail Bulgakov's life-long attachment to the theater found its ultimate expression on the day of his burial. On 10 March 1940, Bulgakov died at home at the age of forty-nine. On 12 March the coffin containing his body was car- ried to the Moscow Art Theatre and the Bol'shoi Opera-and the actors came out to take leave of the late playwright and their colleague. The body was cre- mated and buried at Novodevichie cemetery in Moscow. The route chosen for the funeral cortege confirmed symbolically Bulgakov's love for the theater, especially for the Moscow Art Theater, and his dedication to the theatrical arts. In 1937, Bulgakov had to leave the Art Theater; but even after his death he remained spiritually and artistically affiliated with this theatre, with his plays and his protagonists. Liubov' E. Belozerskaia, Bulgakov's second wife who witnessed his first theatrical successes as well as the 1929-30 ostracism to which he was subjected by authorities and censors, remarked: "When Glinka used to say 'Music is my soul!' Bulgakov would say 'Theater is my soul!"'1 Indeed, Sergei Maksudov, the protagonist of Bulgakov's penultimate work-his Theatrical Novel, said during his first visit to the Art Theater, when he was immediately captivated by the mystery of theater life: "This world is my own."2 Maksudov aptly ex- pressed the convictions of the playwright Bulgakov, his creator, who entrusted him with some of his own ideas, and emotions, and shared with him his actual experiences. -
Bulgakov's Fate: Fact and Fiction
VLADIMIR LAKSHIN BULGAKOV'S FATE: FACT AND FICTION Translated by K.M. Cook-Horujy English translation copyright Raduga Publishers 1990 Moscow Twenty-five years after his death Bulgakov's face has gradually emerged from the shadows, growing more and more distinct. From the end of the 1920s up to 1961 his prose was not published in the USSR at all. His major works mouldered in manuscript. Between 1941 and 1954 only The Last Days (Pushkin) and his dramatisation of Dead Souls were performed on the stage. I remember clearly my student days in the early fifties, when Bulgakov was firmly considered to be a "forgotten writer" and you could not mention his name, even among lovers of literature, without having to explain at length that apart from The Days of the Turbins ("Ah, yes, the Turbins..." and faces lit up with a vague glimmer of recollection) he was the author of a fair number of dramas and comedies and also wrote prose. Then suddenly within the space of about seven years the "Bulgakov phenomenon" was with us. In 1962 his biography of Moliere written in the thirties was published. In 1963 — the Notes of a Young Doctor. In 1965 — the collection Dramas and Comedies and Theatrical Novel. In 1966 — a volume of Selected Prose, including The White Guard. And finally in 1966-1967 — The Master and Margarita. His fame began to gain force like a hurricane, sweeping over literary circles to the general reading public and flooding across the borders of his native land to surge in a mighty wave over other countries and continents. -
Elements of Satire and the Grotesque in the Prose of M.A. Bulgakov
.. J' ELEflENTS OF' SATIRE AND THE GROTESQUE IN THE PROSE OF MIKHAIL AFANASYEVICH BULGAKOV .: Elements of Satire and the Grotesque in the Prose of 11. A. Bulgalwv by Barbara Blake, M.A. Warsaw, B.A.Hons. London A thesis submitted to the Faculty of Graduate Studies in partial fulfilment of the requirement~ for the Degree of Master of Arts ~lcfilaster University September 1968. ii ..' d MASTER OF ART'S (:L968) Hcr-laster University (Russian) Hamilton, Ontario. TITLE Elements of Satire and the Grotesque in the Prose of N.A. Bulgakov AUTHOR: Barbara Blake SUPERVISOR Dr. C.J.G. Turner NUNBER OF PAGES 97 SCOPE AHD CONTENTS: A brief analysis of the satirical ar).d grotesque elements in the published prose works of Hikhail AfanasyevichBulgakov. iii TABLE 0 F CO!~'rENTS Descriptive page ii Table of Contents iii Preface iv Chapter I - A Biographical Sketch 1 Chapter II - Bulgakov's Satire 26 Chapter III - Elements of the Grotesque in 55 Bulgakov's Prose Chapter IV - Conclusions 77 Bi bliogr8:phy 91 iv PRE F ACE. The purpose of this thesis is to throw some light upon the hitherto unexplored subject of satire and ( grotesque in Mikhail Bulgakov's prose. Since not all of Bulgakov's prose writing contains elements 6f satire or grotesque only the works that do have been considered, and so, for example, Notes of A Young Physician and The Days of the Turbins, both realistic and autobiographical accounts, have been left out of account. For satire several short stories are analysed as well as the three novels: The Black i:!.now (or !be Theatrical Novel), The Naster and Iviargari ta and The Heart of a Do~, and for the grotesque - the same stories, The Heart of §. -
Mikhail Bulgakov – Master and Margarita
MIKHAIL BULGAKOV MASTER AND MARGARITA RICHARD PEVEAR AND LARISSA VOLOKHONSKY ENGLISH TRANSLATION AND NOTES CHARLIE STONE ILLUSTRATIONS JOSEF NYGRIN PDF PREPARATION AND TYPESETTING MIKHAIL BULGAKOV Master and Margarita MASTER AND MARGARITA Released under Creative Commons Attribution-Noncommercial Licence. http://creativecommons.org/licenses/by-nc/3.0/us/ You are free: to share – to copy, distribute, display, and perform the work; to remix - to make derivative works. Under the following conditions: attribution – you must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work); noncommercial – you may not use this work for commercial purposes. Any of the above conditions can be waived if you get permission from the copyright holder. English translation by Richard Pevear and Larissa Volokhonsky. This translation published in PENGUIN BOOKS, 1997. Illustrations by Charlie Stone. MIKTEXLATEX typesetting by Josef Nygrin, in March 2008. http://www.paskvil.com/ Some rights reserved c 2008 Josef Nygrin Contents Introduction 1 Note and Acknowledgements 13 Book I. 15 1 Never Talk with Strangers 17 2 Pontius Pilate 30 3 The Seventh Proof 54 4 The Chase 59 5 There were Doings at Griboedov’s 67 6 Schizophrenia, as was Said 79 7 A Naughty Apartment 87 8 The Combat between the Professor and the Poet 98 9 Koroviev’s Stunts 106 10 News From Yalta 115 11 Ivan Splits in Two 126 12 Black Magic and Its Exposure 130 13 The Hero Enters 144 14 Glory to the Cock! 162 15 Nikanor Ivanovich’s Dream 170 16 The Execution 182 17 An Unquiet Day 194 18 Hapless Visitors 206 Book II. -
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. -
Elements of Satire ... in the Prose of M.A. Bulgakov
Elements of Satire and the Grotesque in the Prose of M.A. Bulgakov Barbara Blake In September 1968, Barbara Blake was, to our knowledge, the first Master student ever who submitted a thesis on The Master and Margarita. It was at the Faculty of Graduate Studies in partial fulfilment of the requirement for the Degree of Master of Arts at the McMaster University in Hamilton, Ontario. From the archives of the website The Master and Margarita http://www.masterandmargarita.eu Webmaster Jan Vanhellemont Klein Begijnhof 6 B-3000 Leuven +3216583866 +32475260793 Elements of Satire and the Grotesque in the Prose of M.A. Bulgakov Barbara Blake Scope and content A brief analysis of the satirical and grotesque elements in the published prose works of Mikhail Afanasyevich Bulgakov. Table of Contents Preface Chapter I - A Biographical Sketch Chapter II - Bulgakov's Satire Chapter III - Elements of the Grotesque in Bulgakov's Prose Chapter IV - Conclusions Bibliography Preface The purpose of this thesis is to throw some light upon the hitherto unexplored subject of satire and grotesque in Mikhail Bulgakov's prose. Since not all of Bulgakov's prose writing contains elements of satire or grotesque only the works that do have been considered, and so, for example, Notes of A Young Physician and The Days of the Turbins, both realistic and autobiographical accounts, have been left out of account. For satire several short stories are analysed as well as the three novels: The Black Snow (or The Theatrical Novel), The Master and Margarita and The Heart of a Dog, and for the grotesque - the same stories, The Heart of Dog and above all The Master and Margarita are discussed. -
THE WHITE GUARD by Mikhail Bulgakov
Education Resources Pre‐Production Sydney Theatre Company and Commonwealth Bank present THE WHITE GUARD By Mikhail Bulgakov PRE‐PRODUCTION RESOURCES About Sydney Theatre Company 2 About STCEd 2 Creative Team and Cast 2 Themes 2 Synopsis 3‐4 Historical and social background 5‐6 Additional Resources 7‐8 PRE‐PRODUCTION EXERCISES Peace, Bread, Land 9‐10 Dinner! Everybody! Dinner! 11‐12 The Bolsheviks Are Coming 13‐14 Education Resource written by Kerreen Ely‐Harper and compiled by Education Coordinator Toni Murphy KEY AIM of exercise or section Extension Exercises Download and watch + Drama Exercises English Exercises Play online THE WHITE GUARD Sydney Theatre Company Education Resources 2011 © Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. PRE‐PRODUCTION RESOURCES ABOUT SYDNEY THEATRE COMPANY www.sydneytheatre.com.au/about ABOUT STCED www.sydneytheatre.com.au/stced/about “ ALEXEI CREATIVE TEAM Long live the revolution. Director – Andrew Upton Set & Costume Designer – Alice Babidge Lighting Designer – Nick Schlieper Act 1, Scene 1 The White Guard Composer – Alan John ” CAST Jonathan Biggins Patrick Brammall Alan Dukes Darren Gilshenan Cameron Goodall Miranda Otto Richard Pyros Tahki Saul THEMES Family Nationalism Satire & Farce Russian History THE WHITE GUARD 2 Sydney Theatre Company Pre‐Production Education Resources 2011 www.sydneytheatre.com.au/stced © Sydney Theatre Company SYNOPSIS It is 1918 and the Civil War has broken out between the Bolsheviks (‘Reds’) and the pro Provisional Government forces (‘Whites’). Alexei and Nikolai are preparing to fight for the White Guard. -
Bulgakov's Faith: Fact and Fiction Vladimir Lakshin
Bulgakov’s faith: fact and fiction Vladimir Lakshin Translated by K.M. Cook-Horujy - English translation copyright Raduga Publishers, 1990 Moscow. From the archive section of the website Master & Margarita http://www.masterandmargarita.eu Webmaster Jan Vanhellemont Klein Begijnhof 6 B-3000 Leuven +3216583866 +32475260793 Bulgakov’s faith: fact and fiction Vladimir Lakshin Translated by K.M. Cook-Horujy Twenty-five years after his death Bulgakov's face has gradually emerged from the shadows, growing more and more distinct. From the end of the 1920s up to 1961 his prose was not published in the USSR at all. His major works mouldered in manuscript. Between 1941 and 1954 only The Last Days (Pushkin) and his dramatisation of Dead Souls were performed on the stage. I remember clearly my student days in the early fifties, when Bulgakov was firmly considered to be a "forgotten writer" and you could not mention his name, even among lovers of literature, without having to explain at length that apart from The Days of the Turbins ("Ah, yes, the Turbins..." and faces lit up with a vague glimmer of recollection) he was the author of a fair number of dramas and comedies and also wrote prose. Then suddenly within the space of about seven years the "Bulgakov phenomenon" was with us. In 1962 his biography of Moliere written in the thirties was published. In 1963 - the Notes of a Young Doctor. In 1965 - the collection Dramas and Comedies and Theatrical Novel. In 1966 - a volume of Selected Prose, including The White Guard. And finally in 1966-1967 - The Master and Margarita. -
La Fuite ! / Flight! Deuxième Page Dates En Corps 14 a Surreal Comedy in Eight Dreams Auteur, Metteur En Scène Directed by Macha Makeïeff En Corps 17
La Criée Création 2017 Théâtre national de Marseille On pose la page groupée de la brochure, on l’agrandit aux marges, on la dégroupe N° de spectacle en corps 55 Premiere 6 October 2017 Mot lié de la taille du n° Type de spectacle corps 14 Taille du titre du spectacle en fonction Mikhaïl Boulgakov de la longueur du titre Tarifs, horaires à passer en La Fuite ! / Flight! deuxième page Dates en corps 14 A surreal comedy in eight dreams Auteur, Metteur en scène Directed by Macha Makeïeff en corps 17 In 1920, the Russian civil war has ended, and there is a feverish flight of the Accroche en corps 14 "White Russians" into the Crimea, Sevastopol, Constantinople and Paris… These eight dream-episodes which are set against the backdrop of a collapsing world, are pure Russian satire. Bulgakov sets before us an array of endearing yet terrible characters: civilians, artists, defeated military officers, outcasts and reprobates – ecstatic, eccentric and extremely funny. An accomplished ensemble of actors and singers present a show full of imagery, music and reverie. Repère infos Racle La Criée Théâtre national de Marseille 30 quai de Rive Neuve 13007 Marseille CONTACTS Infos de coproduction Renseignements réservations à passer en bas de page sous au 04 91 54 70 54 le 3° repère avec les logos vente et abonnement en ligne sur Charles Mesnier, Executive Producer Annalisa Bartocci, Executive Production Assistant en corps 12 www.theatre-lacriee.com La Criée - Théâtre National de La Criée - Théâtre National de Marseille Marseille Tél. : 33 (0) 4 96 17 80 37 Tél. -
Mikhail Afanas'evich Bulgakov Amy Singleton Adams
Mikhail Afanas'evich Bulgakov Amy Singleton Adams Biography of Mikhail Bulgakov, presented by Amy Singleton Adams, College of the Holy Cross.. Dictionary of Literary Biography. ©2005-2006 Thomson Gale, a part of the Thomson Corporation. From the archive section of The Master and Margarita http://www.masterandmargarita.eu Webmaster Jan Vanhellemont Klein Begijnhof 6 B-3000 Leuven +3216583866 +32475260793 Mikhail (Afanas'evich) Bulgakov Biography Name: Mikhail Afanasievich Bulgakov Birth Date: May 2, 1891 Death Date: 1940 Place of Death: Russia Nationality: Russian Gender: Male Occupations: novelist, playwright Further Reading 3 There is no full-length study of Bulgakov in English. Most of the English-language editions of his works, however, contain valuable introductory material. Shorter treatments of Bulgakov are in Gleb Struve, Soviet Russian Literature, 1917-50 (1951); Marc Lvovich Slonim, Modern Russian Literature from Chekhov to the Present (1953); Viacheslav Zavalishin, Early Soviet Writers (1958); and Edward J. Brown, Russian Literature since the Revolution (1969). 3 My life with Mikhail Bulgakov, Ann Arbor: Ardis, 1983. 3 Milne, Lesley, Mikhail Bulgakov: a critical biography, Cambridge England; New York: Cambridge University Press, 1990. 3 A pictorial biography of Mikhail Bulgakov, Ann Arbor, MI: Ardis, 1984. Dictionary of Literary Biography Biography Mikhail Bulgakov wrote prolifically during a time when old social orders were breaking down and traditional values were rejected. In his story "No. 13. Dom El'pit-Rabkommuna" (No. 13. The Elpit- Rabkommun House, 1922), which describes the destruction of an historic building, the narrator says: "It was a glorious time . And then there was nothing. Sic transit gloria mundi! It's terrible to live, when kingdoms are falling." The heroes of Bulgakov's work--often engaged in creative pursuits of some kind--find it difficult to survive in a changing world.