This book tackles questions about the reception and production of
translated and untranslated Russian theatre in post-WW2 Britain:
why in British minds is Russia viewed almost as a run-of-the-mill
production of a Chekhov play. Is it because Chekhov is so dominant
in British theatre culture? What about all those other Russian
writers? Many of them are very different from Chekhov. A key
question was formulated, thanks to a review by Susannah Clapp of
Turgenev's A Month in the Country: have the British staged a
'Russia of the theatrical mind'?
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