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.
The Theatre of War surveys more than two hundred plays about the First World War written, published and/or performed in Britain and Ireland between 1909 and 1998. Perspectives discussed include: subject matter, technique and evaluation. The result is an understanding of the First World War as a watershed in international history.
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.
The images from Abu Ghraib prison in Baghdad have been a grim reminder of warfare's undiminished capacity for brutality and indiscriminate excess. What happened in Abu Ghraib has happened before: the World War II, and more recent wars and insurgencies in Algeria, Congo, Angola, Vietnam, Bosnia, Kosovo, Chechnya, and many others, all bear witness to the ever-present human capacity to commit barbaric acts if circumstances allow. What drives people to mistreat, humiliate, and torment others? In an age when real time war, violence, and torture are becoming addictive forms of entertainment, it is now more critical than ever to deepen our understanding of the extraordinary distortions of the human psyche and spirit that occur in wartime. Eight distinguished scholars explore, in this first collective effort, the effects of the barbarization of warfare on our cultures and societies. Contributors: Joanna Bourke, Niall Ferguson, Jay Winter, Richard Overy, David Anderson, Hew Strachan, Paul Rogers, Kathleen Taylor, Marilyn Young, Paul Rogers, Anthony Dworkin, Amir Weiner, Mary Habeck, and David Simpson.
First published in 1946. In this study of Russian theatre, the author explores the developments of drama and the theatre throughout the nineteenth-century. Macleod examines imperial and serf theatres, the impact of Russian drama on the east and west, and the regeneration of theatre at the start of the twentieth-century. This title will be of great interest to students of Theatre Studies and Russian History.
This new book examines the role of the Tsarist General Staff in studying and administering Russia’s Asian borderlands. It considers the nature of the Imperial Russian state, the institutional characteristics of the General Staff, and Russia’s relationship with Asia. During the nineteenth century, Russia was an important player in the so-called ‘Great Game’ in central Asia. Between 1800 and 1917 officers of the Russian General Staff travelled extensively through Turkey, central Asia and the Far East, gathering intelligence that assisted in the formation of future war plans. It goes on to consider tactics of imperial expansion, and the role of military intelligence and war planning with respect to important regions including the Caucasus, central Asia and the Far East. In the light of detailed archival research, it investigates objectively questions such as the possibility of Russia seizing the Bosphorus Straits, and the probability of an expedition to India. Overall, this book provides a comprehensive account of the Russian General Staff, its role in Asia, and of Russian military planning with respect to a region that remains highly strategically significant today.
This volume explains the evolution of maritime strategy through the twentieth century, and concludes with some speculations about its future in the next century. The forms and practices of navies and maritime strategy are analysed through the development of eight historical and contemporary topics drawn from the First and Second World Wars, the Cold War and post-Cold War period .
New York's repertory movie houses specialized in presenting films ignored by mainstream and art house audiences. Curating vintage and undistributed movies from various countries, they educated the public about the art of film at a time when the cinema had begun to be respected as an art form. Operating on shoestring budgets in funky settings, each repertory house had its own personality, reflecting the preferences of the (often eccentric) proprietor. While a few theaters existed in other cities, New York offered the greatest number and variety. Focusing on the active years from 1960 through 1994, this book documents the repertory movement in the context of economics and film culture.
Sir Julian Corbett was regarded as one of the greatest naval historians of the early twentieth century. Maritime Operations in the Russo-Japanese War, 1904–1905 was never available to the public during his lifetime. As noted in the introduction to Volume I, Corbett dealt not with “minute details and themes,...but a continuous narrative that demonstrated the interrelationship of land and sea events as they impinged on each other in conception, execution and results. Thus political objectives, geographic factors, and the machinery of government all could be seen working together as part of a whole.” Corbett’s work delineated the differences between maritime and land warfare, while also exploring their interaction. Published in hardcover by the Naval Institute Press in 1994, both volumes are now available in paperback for the first time.