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Olga Mukhina is one of the most talented, young playwrights in
Russia. Born in Moscow in 1970, she has already garnered enviable
praise from critics and audiences throughout Russia and Europe
since her first play, Tanya-Tanya, was performed in 1996.
Tanya-Tanya is an atmospheric, poetic tale that observes three
couples at a suburban Moscow home who dance, drink champagne, kiss,
fall in and out of love, and struggle with dignity and humor to
keep some semblance of control over their lives. The parallels with
Chekhovian drama are undeniable and clearly intended by the author.
You, Mukhina's most recent work, is a love poem to her hometown of
Moscow as well as a scathing attack on the apathy of people blindly
wrapped up in their own happiness and sorrow.
This is a collection of John Freedman's reviews and articles, most
originally written for the Moscow Times, in which he focuses his
expert critical eye on the directors, writers and actors who held
centre stage during the 1996-97 theatre season in Moscow.
The book looks at the debut of promising new artists and directors
at the Moscow Art Theatre celebrating its 100th anniversary this
year and offers a wealth of insight into the latest developments in
Russian theatre.
Freedman illuminates all of the season's noteworthy trends and
events in clear, informed and unapologetically opinionated reports.
More than just an overview of the stars and highlights, Moscow
Performances II observes at close range the playhouses and the
people who make up the ever-changing face of contemporary Russian
theatre today.
This volume is generously illustrated with photographs of featured
productions and will be a useful reference for students,
professors, writers, directors and actors in the fields of Russian
studies, theatre studies, theatre history and contemporary culture.
The reviews and features collected in John Freedman's Moscow
Performances bring to life the diversity, energy, and imagination
of Russian theater as few books have done before. While focusing on
the work of Moscow's leading directors - Pyotr Fomenko, Kama
Ginkas, Valery Fokin, Anatoly Vasilyev, Konstantin Raikin, Sergei
Zhenovach, Yury Lyubimov, and many others - also included in its
review are key productions by many of the renowned guests who bring
their art to the Russian capital. Essays on St. Petersburg's Lev
Dodin (of the Maly Drama Theatre), Lithuania's Eimuntas Nekrosius,
Georgia's Robert Sturua, and Germany's Peter Stein confirm that
Moscow's position as a "theatrical mecca" has not diminished since
Anatoly Lunacharsky coined the phrase in the 1920s.
In addition to recording Freedman's immediate and opinionated
responses to Moscow stage developments in the 1990s, Moscow
Performances contains a wealth of information about the struggles
and occasional triumphs of a new generation of talented but as yet
unknown playwrights, the successes of the best actors, and the
social and financial trends which have had such an impact on
Russian theatre in the post-Soviet period.
First Published in 1995. A Meeting About Laughter is a collection
of sketches, interludes and theatrical parodies by Nikolai Erdman,
Vladimir Mass and others. Translated from the Russian Theatre
Archive by John Freedman, Harvard University. Erdman is best known
as the author of The Warrant and The Suicide, both written for
Vsevolod Meyerhold in the 1920s. Also including the transcript of a
startling discussion of The Suicide at the Vakhtangov Theatre in
1930 and the only surviving fragments of Erdman's third play The
Hypnotist.
"Bald/Brunet" by Daniil Gink and "Nijinsky" by Alexei Burykin are
unquestionably the two most celebrated new dramatic works to appear
in Russia in the 1990s. Both were written by first-time playwrights
in their early twenties, and both became the talk of Moscow
overnight after they appeared. As Russian culture continues to
struggle with the past, these plays are clear signs that Russian
drama, at least, is on the verge of finding a voice for the future.
Coincidentally or not, both works center on a single character
whose personality breaks into two warring halves. "Bald/Brunet" is
a wise and touching examination of an aging jazz musician, while
"Nijinsky," based on the case of the great Polish-Russian dancer
Vaslav Nijinsky, is a soaring hymn to the enigma and autonomy of
genius. These new Russian plays are musical and poetic, provocative
and insightful, tender yet tragic. And they each have equally as
much to say about universal human values as they do about the
Russian experien
This volume contains the full text in English of both "The Suicide"
and Nikolai Erdman's first major, albeit less known work, "The
Warrant." Although both plays were written in the early 1920s, they
were haunted by the political spectre of totalitarianism and it was
only in the 1980s that they began to be staged regularly worldwide.
The plays themselves, full of political satire and paradox, show
the immense skill of this playwright, and the introduction by John
Freedman provides valuable insights into the historical context of
the plays, highlighting Erdman's unique use of language. These new
translations are well illustrated with little-known archival
production photographs and drawings of the period.
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The Simpleton (Hardcover)
Sergei Kokovkin; Edited by John Freedman
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R3,964
Discovery Miles 39 640
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Ships in 12 - 17 working days
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First Published in 2000. Routledge is an imprint of Taylor &
Francis, an informa company.
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