#Alter ego band john sokoloff archive

Bablet, Denis ( Paris: Centre National de la Recherche Scientifique, 1979), 127вЂ“53 Google Scholar.ДЈ3. Hoffmann: Mise en scГЁne de Tairov,вЂќ in Mises en scГЁne annГ©es 20 et 30 : Les Voiles de la crГ©ation thГ©atrale, ed.

Hoffmann: Inszenierungen seiner Werke auf russischen BГјhnen-Ein Beitrag zur Rezeptionsgeschichte BeitrГ¤ge zur neueren Literaturgeschichte ( Heidelberg: Carl Winter, 1979) Google Scholar and Amiard-Chevrel, Claudine, вЂњвЂ Princesse BrambillaвЂ™ d'aprГЁs E. Morrison, Simon ( Princeton, NJ: Princeton University Press, 2008), 60вЂ“ 114 Google Scholar.ДЇrench and German studies that use Kamerny archival material, though excellent, focus on description. See Emerson, Caryl, вЂњThe KrzhizhanovskyвЂ“Prokofiev Collaboration on Eugene Onegin, 1936 (A Lesser-Known Casualty of the Pushkin Death Jubilee),вЂќ in Sergey Prokofiev and His World, ed. Caryl Emerson's recent work on Sigizmund Krzhizhanovsky, the Kamerny Theatre's dramaturg, and her translation of the Kamerny's unrealized Eugene Onegin are the first major publications in English from this archive. Worrall was unaware of them when he wrote Modernism to Realism Torda was unable to gain remote access when he wrote his dissertation on the Kamerny. They contain a wealth of rehearsal notes, promptbooks, correspondence, photographs, and other production materials.

#Alter ego band john sokoloff archive

The archives of Tairov and the Kamerny Theatre at the Russian State Archive of Literature and Art have been significantly underutilized by English-language scholars. Meyerhold famously declared вЂњOctober in the theatreвЂќ after becoming head of the Theatre Department of Narkompros (the Commissariat of Enlightenment) in the fall of 1920 he attempted to liquidate the Moscow state academic theatres, of which the Kamerny was one, and to require that all theatres stage revolutionary works using the radical methods of вЂњcubism, futurism and suprematism.вЂќ Although Tairov had experimented with cubist designs, he had spent his immediate post-Revolutionary years defending theatre as an autonomous art form that should express universal truths rather than being a vehicle for topical content, declaring, вЂњA propagandist theatre after a revolution is like mustard after a meal.вЂќДЎ1. Aside from hinting at the rift between the two directors that had become evident after their failed 1918 collaboration on Claudel's The Exchange, Tairov's criticism of Meyerhold's The Dawn reveals a widening gap in the two directorsвЂ™ fundamental conceptions of the purpose of theatre in the wake of the Revolution.