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The Russian Theatre after Stalin (Cambridge Studies in Modern Theatre)
 
 
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The Russian Theatre after Stalin (Cambridge Studies in Modern Theatre) [Paperback]

Laurence Senelick , Anatoly Smeliansky , Patrick Miles

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A. M. Smeli?a?nski?
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'A 'must read' for those in the field, offered by one of the few people with the opportunity, intellience, maturity and good sense to write it.' Choice

Product Description

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.

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First Sentence
Before introducing the main heroes of this book, I shall attempt to sketch the historical background preceding the death of Stalin. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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0 of 1 people found the following review helpful:
5.0 out of 5 stars Courage and Subtlety in Soviet Russia, 26 Jun 2007
By Allan S. Harrison "ashshrink" - Published on Amazon.com
This review is from: The Russian Theatre after Stalin (Cambridge Studies in Modern Theatre) (Paperback)
Anatoly Smeliansky has told a tale of creative spirit surviving in an intellectual Gulag. The struggle of art, theater, and creativity to have life rivals the other world tenacity of tube worms living at volcanic ports on the ocean floor. The remarkable achievement of Russian theatre to provide intellectual nourishment to a nation, and its course of evolution during the decline and fall of Soviet Communism shines a light upon the individual's drive to be unique in an environment too often demonized in American portrayals. The theatrical stories involve names of actors, directors, and writers, mostly unknown to me, but as the story played on, in three acts, Dr. Smeliansky made them come alive. Their triumphs, failures and leaps are given a marquee exhibition in a history unvarnished . Wrapped in drama , this insider's slalom and struggle through politicians, censors, bureaucrats, and quislings plays out in as Russian a presentation as could be imagined, with hundreds of characters, a palate of hues and a landscape as small as a theater and vast as Russia herself.
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