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Showing 1 - 8 of
8 matches in All Departments
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Mirage (Paperback)
Patrick Miles Gloutney
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R351
Discovery Miles 3 510
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Ships in 10 - 15 working days
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Runaway (Paperback)
Patrick Miles Gloutney
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R351
Discovery Miles 3 510
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Ships in 10 - 15 working days
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This is the first book to explore the world of the theatre in
Russia after Stalin. Through his work at the Moscow Art Theatre,
Anatoly Smeliansky is in a key position to analyse contemporary
events on the Russian stage and he combines this first-hand
knowledge with valuable archival material, some published here for
the first time, to tell a fascinating and important story.
Smeliansky chronicles developments from 1953 and the rise of a new
Soviet theatre, and moves through the next four decades,
highlighting the social and political events which shaped Russian
drama and performance. The book also focuses on major directors and
practitioners, including Yury Lyubimov, Oleg Yefremov, and Lev
Dodin, among others, and contains a chronology, glossary of names,
and informative illustrations.
This is the first book to explore theater in Russia after Stalin. Through his work at the Moscow Art Theatre, Anatoly Smeliansky is in a key position to analyze contemporary events on the Russian stage and he combines this first-hand knowledge with valuable archival material. Smeliansky chronicles developments from 1953 and the rise of a new Soviet theater, highlighting the social and political events that shaped Russian drama and performance. The book also focuses on major directors and practitioners and contains a chronology, glossary of names, and informative illustrations.
This is the first book to consider the whole subject of Chekhov's
impact on the British stage. Recently Chekhov's plays have come to
occupy a place in the British classical repertoire second only to
Shakespeare. The British, American and Russian authors of these
essays examine this phenomenon both historically and
synchronically. First they discuss why Chekhov's plays were so slow
to find an audience in Britain, what the early productions were
really like, and how Bernard Shaw, Peggy Ashcroft, the Moscow Art
Theatre and politics influenced the British style of Chekhov. They
then address the often controversial issues of directing, acting,
designing and translating Chekhov in Britain today. The volume
concludes with a selective chronology of British productions of
Chekhov's plays and will be of interest to students and scholars of
the theatre, as well as theatre-goers, theatre-practitioners and
Russianists.
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