Relevant bibliographies by topics / Soviet Union – Drama

Academic literature on the topic 'Soviet Union – Drama'

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Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Soviet Union – Drama"

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Yeremenko, Evgenii Dmitrievich, and Zoya Vyacheslavovna Proshkova. "Редакторская практика в киносотрудничестве Советского Союза и Японии." Vestnik of Saint Petersburg State University of Culture, no. 4 (53) (December 2022): 18–23. http://dx.doi.org/10.30725/2619-0303-2022-4-18-23.

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The ideological and cultural context of Soviet-Japanese cinematographic contacts is determined by the activities of foreign film editors. The front of the work of representatives of this profession is selection, literary translation, dubbing, and in some cases – abbreviations, remounting of Japanese films for Soviet rental. Despite the «alien lifestyle», Japanese films were not just exotic «land of the rising sun», but also a kind of interpretation of European and American cultures in different genres: post-neorealist drama («Naked Island», «Red Beard»), sports film («The Genius of Judo»), film catastrophe («The Death of Japan», «The Legend of the Dinosaur»), children’s animation («Puss in Boots»). Joint film productions with Japan are especially noteworthy for the domestic cinema of the 1970s and 80s. The artistic space of these works is presented in the form of a historical drama («Dersu Uzala»), a melodrama («Moscow, my love», «Melodies of the White no-chi»), an animated fairy tale («The Adventures of the Penguin Lolo»). The Soviet Japanese co-production remains a historical example of a creative compromise between states with diverse types of social devices.
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Mastny, Vojtech. "The Soviet Union's Partnership with India." Journal of Cold War Studies 12, no. 3 (July 2010): 50–90. http://dx.doi.org/10.1162/jcws_a_00006.

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The relationship between the Soviet Union and India was a hallmark of the Cold War. Over nearly forty years, Soviet-Indian relations passed through three distinct periods, coinciding with the ascendance of three extraordinary pairs of leaders, each extraordinary for different reasons—Jawaharlal Nehru and Nikita Khrushchev, Indira Gandhi and Leonid Brezhnev, and Rajiv Gandhi and Mikhail Gorbachev. The rise and decline of a political dynasty in India paralleled the trajectory seen in the Soviet Union. None of the periods ended well—the first in debacles with China, the second with Indira Gandhi's assassination, the third with the demise of the Soviet Union. The relationship in its heyday in the 1950s and 1960s was the product of a unique set of circumstances during the early Cold War. In the end, however, the relationship proved to be little more than a sideshow in the larger drama of the Cold War.
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Nicholson, Steve. "Censoring Revolution: the Lord Chamberlain and the Soviet Union." New Theatre Quarterly 8, no. 32 (November 1992): 305–12. http://dx.doi.org/10.1017/s0266464x00007089.

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In two earlier articles, Steve Nicholson has explored ways in which the the right-wing theatre of the 1920s both shaped and reflected the prevailing opinions of the establishment – in NTQ29 (February 1992) looking at how the Russian Revolution was portrayed on the stage, and in NTQ30 (May 1992) at the ways in which domestic industrial conflicts were presented. He concludes the series with three case studies of the role of the Lord Chamberlain, on whose collection of unpublished manuscripts now housed in the British Library his researches have been based, in preventing more sympathetic – or even more objective – views of Soviet and related subjects from reaching the stage. His analysis is based on a study of the correspondence over the banning of Geo A. DeGray's The Russian Monk, Hubert Griffith's Red Sunday, and a play in translation by a Soviet dramatist, Sergei Tretiakov's Roar China. Steve Nicholson is currently Lecturer in Drama at the Workshop Theatre of the University of Leeds.
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Weygandt, Susanna. "The Structure of Plasticity: Resistance and Accommodation in Russian New Drama." TDR/The Drama Review 60, no. 1 (March 2016): 116–31. http://dx.doi.org/10.1162/dram_a_00527.

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The history of the Russian stage traces the importance of objects in storytelling back to an earlier art: plastika, a stylized acting technique that “speaks” spatially with objects. In Russian New Drama, objects enter the stage as supplements to the hero, who survives the disintegration of the Soviet Union as a shell-of-the-self. As extensions of the hero, the hitherto lifeless things begin “to act” and tell their own story.
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Pajala, Mari. "‘Long live the friendship between the Soviet Union and Finland!’ Irony, nostalgia, and melodrama in Finnish historical television drama and documentary series." European Journal of Cultural Studies 20, no. 3 (January 16, 2017): 271–84. http://dx.doi.org/10.1177/1367549416682244.

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In critical studies on historical television programmes, the affective qualities of televisual memory have been discussed mainly in terms of nostalgia. This article argues that conceptualizing the affective modes of relating to the past in more varied ways can help us to better understand the politics of memory on television. As a case study, the article analyses Finnish Broadcasting Company Yleisradio’s historical drama and documentary series that deal with the relationship between Finland and the Soviet Union. The article identifies three affective modes in the programmes: irony, nostalgia and melodrama. Each of these modes offers different possibilities for critiquing, understanding and justifying the past. By studying televisual memories of the Soviet Union in a non-socialist country with important political, economic and cultural ties with the socialist bloc, the article moreover questions a clear East–West binary in studies on post-socialist memory.
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Vollgraff, Matthew. "The Reflex Republic: Physiologies of Art in the Early Soviet Union." October, no. 188 (2024): 149–74. http://dx.doi.org/10.1162/octo_a_00519.

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Abstract In the immediate wake of the Russian Revolution, Pavlovian reflex conditioning was rapidly elevated to a universal materialist model for understanding and manipulating human behavior, including the production and reception of art. This article explores the little-known history of the “reflexology of art,” a movement that applied physiological concepts and techniques to drama, cinema, and literature with the aim of molding atomized individual subjectivities into a corporeal collective. This movement—which involved figures like Vsevolod Meyerhold, Sergei Eisenstein, and Sergei Tret'iakov—formed part of the highly politicized dialogue between science, politics and the arts in the 1920s. By reconstructing the critical discourse around the reflexology of art within the cultural production of the early Soviet state, the article sheds light on the contradictory impulses animating an avant-garde caught between deterministic visions of social engineering and the subversive passions of revolution.
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Gudkov, Maxim M. "“People of an Uncertain Existence”: The First Soviet Productions of William Saroyan’s Play My Heart’s in the Highlands." Literature of the Americas, no. 9 (2020): 208–35. http://dx.doi.org/10.22455/2541-7894-2020-9-208-235.

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Several plays by William Saroyan written in the mid-1930s reached the Soviet stage only during the Khrushchev Thaw, in the early 1960s. The paper focuses on the first Soviet productions of Saroyan’s play My Heart’s in the Highlands, premiered in Armenian (Yerevan) in 1961, and in 1962 staged in Russian by the Mayakovsky Moscow Theatre. The paper analyses the reasons for such a late appearance of Saroyan’s dramas on the Russian stage, traces how Saroyan’s trip to the USSR in 1960 prompted the staging of his work in Armenia’s capital, which thereon paved the way for its Moscow production. The theatrical history of Saroyan’s work in the USSR is viewed in a wide social, political and cultural Soviet-American macro-context during the Cold War. The paper based on the rare materials from the museum of the Mayakovsky Moscow Theatre, focuses on the reception of the play and its production in the Soviet Union. The director Ya.S. Tsitsinovski strove to transmit the elevated, poetic spirit of Saroyan’s work and find a vivid expressive form, which was not typical for the Mayakovsky Theatre of N.P. Okhlopkov’s time. Its appearance on the Moscow stage in 1962 marked the beginning of the scene history of the American author’s drama in our country. The paper is aimed at reconstructing the theatrical history of Saroyan’s plays in the USSR.
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Nicholson, Steve. "Responses to Revolution: the Soviet Union Portrayed in the British Theatre, 1917–29." New Theatre Quarterly 8, no. 29 (February 1992): 62–69. http://dx.doi.org/10.1017/s0266464x00006321.

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In theatrical parlance, ‘political’ is often taken to be synonymous with ‘left-wing’, and research into political theatre movements of the first half of this century has perpetuated the assumption that the right has generally avoided taking politics as subject matter. This article, the first of two about British political theatre in the 1920s, concentrates on plays about Communism and the Soviet Union during the decade following the Russian Revolution, and offers some contrasting conclusions. Steve Nicholson, Lecturer in Drama at the Workshop Theatre of the University of Leeds, argues that, whether such plays shaped or merely reflected conventional views, they were used by the establishment for the most blatant and explicit propaganda, at a time when it felt itself under threat from the Left. The article has been researched largely through unpublished manuscripts in the Lord Chamberlain's collection of plays, housed in the British Library, and derives from a broader study of the portrayal of Communism in the British theatre from 1917 to 1945.
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Vdovina, Elena A. "Nikolai Volkonsky – the director of radio drama." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 105–18. http://dx.doi.org/10.35852/2588-0144-2022-4-105-118.

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The article deals with the creative biography of Nikolay Volkonsky and his influence on development of the radio theatre directing school in Soviet Union. Main stages of Volkonsky formation as a radio director are outlined. At the very early productions by Nikolai Volkonsky, some techniques are outlined, which soon become canon for the radio theatre. In these first national radio performances Evening with Maria Volkonskaya and Lulli the Musician, Volkonsky uses new sound directing methods that were innovative for broadcasting of that time. They at transforming the time and space of the stage action, presenting the characters through their speech pecularities. Under the leadership of Nikolai Volkonsky, Osip Abdulov and Erast Garin start their work at the radio. They subsequently will be known as the masters of the microphone. There are numerous productions by Nikolai Volkonsky on the radio. The author of the article has selected three performances that can help to create the most complete picture of the creative individuality of the director. These are the radio play The Plant based on the novel by Camille Lemonnier, the radio composition Journey through Japan based on the essays by Gregory Gausner and the monumental pathetic oratorio The Nine Hundred and Fifth Yearbased on the poem by Boris Pasternak. The early years of the soviet radio drama are revealing the common processes in developing of art radio programs when this new unexplored field of creative representation of reality has stood at the forefront of the cultural process. The pioneers of the radio theatre innovatively solved creative tasks by their own experience, gradually asserting the main principles of radio performance. Thus it soon became an independent art direction, important in the process of theatre transformation in the twentieth century and in the genre evolution of national art broadcasting.
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Schelchkov, Andrey. "1973 — the dramatic collapse of the Chilean revolution. Viewed by the materials of the archive of the Central Committee of the CPSU." Latinskaia Amerika, no. 9 (2023): 29. http://dx.doi.org/10.31857/s0044748x0027279-5.

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The Chilean Revolution is one of the most important events in the Latin American history of the XXth century. Its defeat, its dramatic circumstances, and the brutality of the military regime's repression turned it into a symbolic event that marked the collapse of the illusions of a peaceful, democratic transition to socialism. The course of the revolution itself, the "Chilean path to socialism", the actions of various actors have been studied in numerous historical studies. In addition to Chilean actors, parties, politicians, and representatives of society, external political forces took part in this drama, indirectly and directly. One of these was the Soviet Union, which closely observed and analyzed the Chilean events. With the opening of the Soviet archives, documents became available that reveal many little-known or hidden subjects of the short but intense history of Unidad Popular in Chile. In this text, the author relies on the documents of the Central Committee of the CPSU, reflecting the vision of the Soviet authorities of the events of the Chilean revolution in the most dramatic period of its development, in the last year of the government of Salvador Allende, in 1973.
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Dissertations / Theses on the topic "Soviet Union – Drama"

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Csehi, Jason. "When Two Worlds Collide: The Allied Downgrading Of General Dragoljub “Draža” Mihailović and Their Subsequent Full Support for Josip Broz “Tito”." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1258151570.

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Books on the topic "Soviet Union – Drama"

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Misha, Glenny, ed. Stars in the morning sky: Five new plays from the Soviet Union. London: Hern, 1989.

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Taruskin, Richard. Opera and drama in Russia as preached and practiced in the 1860s. Rochester, N.Y: University of Rochester Press, 1993.

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Ginsburg, Saul M. The drama of Slavuta. Lanham: University Press of America, 1991.

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Gogol, Nikolai Vasilevich. The inspector: A comedy in five acts. New York: Theatre Communications Group, 2014.

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1919-, Ostrom Vincent, ed. The drama of Russian political history: System against individuality. College Station: Texas A&M University Press, 2003.

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University of Birmingham. Centre for Russian and East European Studies, ed. Molotov and Soviet government: Sovnarkom, 1930-41. New York: St. Martin's Press in association with the Centre for Russian and East European Studies, University of Birmingham, 1996.

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Rudnit͡skiĭ, K. Russian and Soviet theater, 1905-1932. New York: Abrams, 1988.

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1942-, Leach Robert, and Borovsky Victor 1939-, eds. A history of Russian theatre. Cambridge: Cambridge University Press, 1999.

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Senelick, Laurence. Russian comedy of the Nikolaian era. Amsterdam: Harwood Academic Publishers, 1997.

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Aksenov, Vasiliĭ Pavlovich. Your murderer. Amsterdam: Harwood Academic, 2000.

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Book chapters on the topic "Soviet Union – Drama"

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"Passing into History: The Final Act of the Soviet Drama." In Why Did the Soviet Union Collapse?: Understanding Historical Change, 186–218. Routledge, 2016. http://dx.doi.org/10.4324/9781315503974-12.

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"5 THE FLAMING SUNFLOWER: THE SOVIET UNION AND SEAN O’CASEY’S POST-REALISM." In Irish Drama and the Other Revolutions, 169–212. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474424479-007.

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Plotnikov, Konstantin I. "Vserosskomdram and Its Predecessors: the History of Russian Playwrights’ Professional Organizations in the 19th and 20th Centuries." In Codex manuscriptus, 329–59. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/cm.2949-0510-2023-3-329-359.

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This article analyses the history of stage-by-stage development of Russian professional organizations of drama writers in the 19th and 20th centuries. The focus is on the dynamic relationship of their creative pursuit, the finance and law conditions of their existence, and the ideological vector inside these organizations since the 1917-pre-revolutionary period until the establishment of the Vserosskomdram. The demand for protecting their copyright rights urged the drama writers to build a professional community, with the Moscow Society of Drama Writers and Composers and the Union of Drama in St. Petersburg as its two acclaimed centers. In the post-revolutionary period, both organizations have become grounds for implementing the Soviet copyright law, discussing the creative goals and targets for the Soviet drama writers, and fighting for the ideological superiority. The article deals with the conflict between “two capitals,” which reflects the spirit of literary institutions in the period of NEP. The research presented is based on the archive materials from the Department of Manuscripts of A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, The Russian State Archive of Literature and Arts, etc.
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Kurczewski, Jacek. "Self-Limited Freedom of Market: Food Rationing." In The Resurrection of Rights in Poland, 295–334. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198256854.003.0010.

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Abstract Calls for political freedoms and democracy were stressed in foreign media coverage of Polish events because the conflict within Polish society was translated into the terms of international politics as a conflict between democracy and Communism. For Poles themselves it was seen rather as a conflict between society and the Communist, whether Polish or Soviet. Poles thus also internationalized (or rather externalized) the conflict. In both cases the Soviet Union was commonly held to be the main protagonist in the political drama of Polish society.
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Butler, David, and Austin Ranney. "Introduction." In Electioneering, 1–10. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198273752.003.0001.

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Abstract Elections can produce high drama or infinite tedium, but they are the key institutions of representative democracy. Elections, when they are open and competitive, allow voters to decide which persons or parties shall control their government. For all but a handful of citizens, voting in national elections is the most important form of political participation; for most it is the only form. Consequently, the recent holding of free elections in formerly authoritarian nations, such as Argentina, Chile, Czechoslovakia, Poland, Spain, and the Soviet Union, provided the clearest evidence of their movement towards democracy.
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Wickhamsmith, Simon. "Staging a Revolution." In Politics and Literature in Mongolia (1921-1948). Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462984752_ch02.

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Since the vast majority of Mongolia’s population was illiterate, its revolution was initially acted out upon the stage. Amateur actors and revolutionary youth groups came together – the former portraying the ideological material promoted by the latter – in an attempt to develop a new understanding of, and approach to, theatrical performance. In this way, small theater groups spread across the country, performing ideological education to show, through satire and through historical and social drama, the misery and inequality of pre-revolutionary Mongolia and the benefits the revolution had brought. The influence of Soviet agitprop led to more innovative, amateur productions, while the opening of a national theater in the late 1920s and the arrival of directors – and later actors – from the Soviet Union brought credibility to the theatrical arts and led to professionalized roles for actors, set designers, painters, singers and musicians.
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Welch, David. "The Culture of War." In The Oxford History of World War II, 347–71. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192884084.003.0014.

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Abstract World War II saw an outpouring of the arts directed at the war effort, partly because they were mobilized for propaganda campaigns, partly as an expression of the intensity and drama of the war itself. All states needed to keep the public enthusiastic for the war effort and this chapter argues that cultural mobilization in Britain, Germany, the Soviet Union and the United States played an important part in sustaining commitment and shaping the popular view of why the war was being fought. The war was expressed more clearly in ideological terms than World War I, and culture helped to communicate what that ideology amounted to.
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Dunn, John. "The Aftermath of Communism and the Vicissitudes of Public Trust." In Trust and Democratic Transition in Post-Communist Europe. British Academy, 2004. http://dx.doi.org/10.5871/bacad/9780197263136.003.0010.

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The disintegration of the Soviet Union, and the collapse of the Soviet model of legitimate political authority throughout Europe, Africa, and mainland Central America, formed the largest single shift in power, ideology, and political organization since the aftermath of World War II. The societies that have now escaped from communism (and who once found themselves imprisoned within it) have a normatively prescribed destination: a political and economic telos, synthesizing representative democracy with the market, which offers an optimal combination of security, prosperity, legitimacy, and collective public decency. In such a transition, a natural history of the forms and distributions of trust and distrust would surely disclose a powerful and insistent deepening, extension, and consolidation of the former, a progressive subsidence of the latter, and an exhilarating net accumulation of social capital. The drama of attempting to foment distrust and labouring to evoke trust (or credulity) goes on all the time and throughout the politics of this state form.
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Rode, Alan K. "“Those fine patriotic citizens, the Warner Brothers”." In Michael Curtiz. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813173917.003.0025.

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During the height of World War II, Curtiz directed Mission to Moscow (1943), the most controversial film of his career. The wartime alliance between the U.S.S.R. and the United States motivated President Roosevelt to personally request the brothers Warner to produce this film. It was based on the best-selling “diary” of a former Soviet ambassador and F.D.R. intimate, Joseph Davies, and the Warners and Curtiz believed that they were supporting the war effort. Davies, however, exercised both script approval and the power of the White House in shaping the film into an absurdly biased tribute to Stalin and the Soviet Union. Although the finished film had minimal influence on public opinion, it fueled the creation of the right-wing Motion Picture Alliance and the postwar HUAC witch hunt.Curtiz pivoted to direct the Irving Berlin musical revue This Is the Army, which became his most financially successful Warner picture; Harry and Jack Warner donated all of the considerable profits to the Army Emergency Relief Fund.He also directed Passage to Marseille, a problem-wracked failure, and Janie, an adolescent drama that was a box-office hit.
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Drwal, Małgorzata. "The Hybridity of South African Working-Class Literature." In Working-Class Literature(s) Volume II. Historical and International Perspectives, 165–208. Stockholm University Press, 2020. http://dx.doi.org/10.16993/bbf.g.

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In this chapter I present an overview of the most prominent trends in South African working-class literature from the beginning of the 20th century until 1994. Since its emergence, South African working class was a heterogeneous formation which encompassed diverse ethnicities, both of European and non-European origin. Each of them created its own literature and culture, using various languages, incorporating traditional elements and means of expression, and merging them with borrowed foreign discourses and literary devices belonging to the repertoire of socialist literature that had been created mostly in the Soviet Union, the USA and other European countries. Consequently, South African working-class literature can be conceived of as conglomerate of heteroglot hybrid forms and manifestations of a subversive counter-discourse of protest literature. The forms presented here include writings of European socialists commenting on South African situation, novels utilizing the Jim goes to Joburg plot pattern, drama incorporating the Soviet socialist realism and references to the Afrikaans farm novel, Afrikaans folk tunes functioning as protest songs, and black workers praise poetry based on tribal oral conventions. As a carrier of a new working-class identity, this literature promoted a modern urban model which, nevertheless, relied on the continuity with local rural traditions.
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