First Published in 1996. The Russian Theatre Archive makes available in English the best avantgarde plays, from the pre-Revolutionary period to the present day. It features monographs on major playwrights and theatre directors, introductions to previously unknown works, and studies of the main artistic groups and periods. Plays are presented in performing edition translations, including (where appropriate) musical scores, and instructions for music and dance. Whenever possible the translated texts will be accompanied by videotapes of performances of plays in the original language. Prison camp theatre is a theme justified by actual life, even though the marriage of such concepts as 'theatre' and 'prison camp' may appear, to the ordinary mind, preposterous.
The documents emerging from the secret police archives of the former Soviet bloc have caused scandal after scandal, compromising revered cultural figures and abruptly ending political careers. Police Aesthetics offers a revealing and responsible approach to such materials. Taking advantage of the partial opening of the secret police archives in Russia and Romania, Vatulescu focuses on their most infamous holdings—the personal files—as well as on movies the police sponsored, scripted, or authored. Through the archives, she gains new insights into the writing of literature and raises new questions about the ethics of reading. She shows how police files and films influenced literature and cinema, from autobiographies to novels, from high-culture classics to avant-garde experiments and popular blockbusters. In so doing, she opens a fresh chapter in the heated debate about the relationship between culture and politics in twentieth-century police states.
Obscured behind concrete and razor wire, the lives of the incarcerated remain hidden from public view. Inside the walls, imprisoned people all over the world stage theatrical productions that enable them to assert their humanity and capabilities. Prison Theatre and the Global Crisis of Incarceration offers a uniquely international account and exploration of prison theatre. By discussing a range of performance practices tied to incarceration, this book examines the ways in which arts practitioners and imprisoned people use theatre as a means to build communities, attain professional skills, create social change, and maintain hope. Ashley Lucas's writing offers a distinctive blend of storytelling, performance analysis, travelogue, and personal experience as the child of an incarcerated father. Distinct examples of theatre performed in prisons are explored throughout the main text and also in a section of Critical Perspectives by international scholars and practitioners.
div Located in the northernmost reaches of Russia, the islands of Solovki are among the most remote in the world. And yet from the Bronze Age through the twentieth century, the islands have attracted an astonishing cast of saints and scoundrels, soldiers and politicians. The site of a beautiful medieval monastery—once home to one of the greatest libraries of eastern Europe—Solovki became in the twentieth century a notorious labor camp. Roy Robson recounts the history of Solovki from its first settlers through the present day, as the history of Russia plays out on this miniature stage. In the 1600s, the piety and prosperity of Solovki turned to religious rebellion, siege, and massacre. Peter the Great then used it as a prison. But Solovki’s glory was renewed in the nineteenth century as it became a major pilgrimage site—only to descend again into horror when the islands became, in the words of Alexander Solzhenitsyn, the “mother of the Gulag” system. From its first intrepid visitors through the blood-soaked twentieth century, Solovki—like Russia itself—has been a site of both glorious achievement and profound misery. /DIV
Anchored in the Russian Empire, but not limited to it, the eight studies in this volume explore the nineteenth-century imperial responses to the challenge of modernity, the dramatic disruptions of World War I, the radical scenarios of the interwar period and post-communist endgames at the different edges of Eurasia. The book continues and amplifies the historiographic momentum created by Alfred J. Rieber’s long and fruitful scholarly career. First, the volume addresses the attempts of Russian imperial rulers and elites to overcome the economic backwardness of the empire with respect to the West. The ensuing rivalry of several interest groups (entrepreneurs, engineers, economists) created new social forms in the subsequent rounds of modernization. The studies explore the dynamics of the metamorphoses of what Rieber famously conceptualized as a “sedimentary society” in the pre-revolutionary and early Soviet settings. Second, the volume also expands and dwells on the concept of frontier zones as dynamic, mutable, shifting areas, characterized by multi-ethnicity, religious diversity, unstable loyalties, overlapping and contradictory models of governance, and an uneasy balance between peaceful co-existence and bloody military clashes. In this connection, studies pay special attention to forced and spontaneous migrations, and population politics in modern Eurasia.
In Beau Monde on Empire’s Edge, Mayhill C. Fowler tells the story of the rise and fall of a group of men who created culture both Soviet and Ukrainian. This collective biography showcases new aspects of the politics of cultural production in the Soviet Union by focusing on theater and on the multi-ethnic borderlands. Unlike their contemporaries in Moscow or Leningrad, these artists from the regions have been all but forgotten despite the quality of their art. Beau Monde restores the periphery to the center of Soviet culture. Sources in Russian, Ukrainian, Polish, and Yiddish highlight the important multi-ethnic context and the challenges inherent in constructing Ukrainian culture in a place of Ukrainians, Russians, Poles, and Jews. Beau Monde on Empire’s Edge traces the growing overlap between the arts and the state in the early Soviet years, and explains the intertwining of politics and culture in the region today.
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.
Death and Redemption offers a fundamental reinterpretation of the role of the Gulag--the Soviet Union's vast system of forced-labor camps, internal exile, and prisons--in Soviet society. Soviet authorities undoubtedly had the means to exterminate all the prisoners who passed through the Gulag, but unlike the Nazis they did not conceive of their concentration camps as instruments of genocide. In this provocative book, Steven Barnes argues that the Gulag must be understood primarily as a penal institution where prisoners were given one final chance to reintegrate into Soviet society. Millions whom authorities deemed "reeducated" through brutal forced labor were allowed to leave. Millions more who "failed" never got out alive. Drawing on newly opened archives in Russia and Kazakhstan as well as memoirs by actual prisoners, Barnes shows how the Gulag was integral to the Soviet goal of building a utopian socialist society. He takes readers into the Gulag itself, focusing on one outpost of the Gulag system in the Karaganda region of Kazakhstan, a location that featured the full panoply of Soviet detention institutions. Barnes traces the Gulag experience from its beginnings after the 1917 Russian Revolution to its decline following the 1953 death of Stalin. Death and Redemption reveals how the Gulag defined the border between those who would reenter Soviet society and those who would be excluded through death.
A vivid account of the Gulag, the Soviet Union's infamous penal system, this book charts how Bolshevik visions of a humane alternative to Tsarist exile and Western penitentiaries became a chaotic and violent system of mass incarceration that bore a tragic human toll. As the first concise history in the English language, The Soviet Gulag: History and Memory provides an illuminating account of the Gulag from 1917, through to the end of the Soviet Union and the contested memory of the Gulag that persists today. Beginning with their conception, during the various penal experiments of the 1920s, their expansion, during the campaigns against perceived enemies of the Soviet regime in the 1930s, and their decline in the years proceeding Stalin's death, Jeffrey S. Hardy explores how many facets of Gulag life endured right up until the collapse of the Soviet Union in 1991. He addresses both the intentions of administrators and the experience of inmates, as well as covering the main scholarly debates surrounding these issues, Crucially, the book also examines the post-Soviet era. You discover how politicians, nongovernmental organizations, and Gulag survivors have debated how or even if to commemorate the victims of the Gulag. Hardy reveals that despite numerous monuments and museum displays emerging out of these discussions, the Gulag's legacy remains hotly contested in Russia today
The Five Continents of Theatre undertakes the exploration of the material culture of the actor, which involves the actors’ pragmatic relations and technical functionality, their behaviour, the norms and conventions that interact with those of the audience and the society in which actors and spectators equally take part. The material culture of the actor is organised around body-mind techniques (see A Dictionary of Theatre Anthropology by the same authors) and auxiliary techniques whose variety concern: ■ the diverse circumstances that generate theatre performances: festive or civil occasions, celebrations of power, popular feasts such as carnival, calendar recurrences such as New Year, spring and summer festivals; ■ the financial and organisational aspects: costs, contracts, salaries, impresarios, tickets, subscriptions, tours; ■ the information to be provided to the public: announcements, posters, advertising, parades; ■ the spaces for the performance and those for the spectators: performing spaces in every possible sense of the term; ■ sets, lighting, sound, makeup, costumes, props; ■ the relations established between actor and spectator; ■ the means of transport adopted by actors and even by spectators. Auxiliary techniques repeat themselves not only throughout different historical periods, but also across all theatrical traditions. Interacting dialectically in the stratification of practices, they respond to basic needs that are common to all traditions when a performance has to be created and staged. A comparative overview of auxiliary techniques shows that the material culture of the actor, with its diverse processes, forms and styles, stems from the way in which actors respond to those same practical needs. The authors’ research for this aspect of theatre anthropology was based on examination of practices, texts and of 1400 images, chosen as exemplars.
