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Russian drama at the turn of the 19th and 20th centuries.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Russian drama at the turn of the 19th and 20th centuries./
作者:	Baconova, Jaroslava.
面頁冊數:	1 online resource (200 pages)
附註:	Source: Dissertations Abstracts International, Volume: 79-09, Section: C.
Contained By:	Dissertations Abstracts International79-09C.
標題:	Slavic literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10778066click for full text (PQDT)
ISBN:	9780355685565

Russian drama at the turn of the 19th and 20th centuries.
Baconova, Jaroslava.

Russian drama at the turn of the 19th and 20th centuries. - 1 online resource (200 pages)

Source: Dissertations Abstracts International, Volume: 79-09, Section: C.

Thesis (M.Litt.)--University of Glasgow (United Kingdom), 2005.

Includes bibliographical references

The artistic explorations that were preoccupying cultural Europe around 1900 certainly did not eschew Russia. On the basis of the theoretical and dramatic works of three Russian authors, Nikolai Evreinov, Viacheslav Ivanov and Aleksandr Blok, we identify and describe three distinctive tendencies among the dramatic artistic pursuits of the beginning of the 20th century. To set these three currents in the context of the turn of century, the work of each is presented in conjunction with one or more of the leading spiritual or artistic figures of that time, namely Anton Chekhov, Friedrich Nietzsche, Vladimir Solov'ev and Maurice Maeterlinck. Nikolai Evreinov believed in reconstructing "real dramatic action", the theatricality at once instinctive not only to all actors, but also to all humankind. Me carnivalized serious themes such as death and fate and his jester's laugh can be heard both in his work and life. The theatralization of death in his one-act dramas is only an extreme form of his theatralization of life which is especially evident in The Chief Thing (1921), the most famous drama from Evreinov's aesthetic Utopian trilogy The Dual Theatre. Evreinov introduced the new concept of the monodrama as a projection of the soul of the main character. He would be pleased to see that monodrama is now a rather common artistic device for many filmmakers wishing to offer a first-person psychological portrayal of a given hero's mind. In our study Nikolai Evreinov is presented in contrast to Anton Chekhov. By this opposition we pose the question as to why Chekhov's plays became immortal rather than Evreinov's, whose only aim, in his life and work, was to conquer death. As our study shows, Evreinov's work never fell into complete oblivion, as Western scholars have never ceased to study his theory of theatre. His theoretical works have even inspired other scientific disciplines and his active approach to the theatre as a healing force has been inspirational for many art-therapy centres. New recent premieres of Evreinov's The Main Thing in Russia show that even his theatrical innovations are not completely defunct and are fighting their way back onto the stage. Viacheslav Ivanov was an expert on old cults and ancient art. We concentrate on his mystical drama Prometheus (1915) as a dramatic counterpart to his theoretical writings. As the analysis of the drama shows, it was more a dramatic illustration of the accompanying essay Action and Its Effect (1919), another artistic discussion with Friedrich Nietzsche's The Birth of Tragedy (Die Geburt der Tragodie, 1871). In his drama, Ivanov is close to Nietzsche's understanding of the Dionysian nature of Prometheus in his sacrifice for humanity. In his theoretical works as well as his own life Ivanov finally distanced himself from the work of the German philosopher by seeing the future of the spiritual world in Catholicism. He is the perfect representative of the mythological model in his attempt to resurrect old Greek mysteries. Convinced that theurgic service was the main reason for the existence of any art, he was searching for a reflection of a "higher reality" in our earthly existence, which would lead us to a final harmony with the chaotic "Dionysian" essence of our existence. Contrary to his theoretical writings, which remain challenging and inspirational for many contemporary scholars, Ivanov's attempt to resurrect old myths and the theurgic power which they had at the time of the Greek mysteries never even made it onto the real stage. His Prometheus, as well as Sologub's and Kuzmin's similar attempts to revive the ancient myths, will in all probability never be staged by the directors of the 21th century. Aleksandr Blok completes our triptych of authors. His drama The Puppet Show' (1906) represents an organic part of his spiritual growth, his further endeavour to comprehend his own myth of the Beautiful Lady (based on the philosophy of Vladimir Solov'ev). In the case of this particular drama, he achieved his aims with the help of the Italian Commedia dell'Arte, a love for the Russian People's Theatre and a deep knowledge of Western Symbolist drama as represented by Maurice Maeterlinck. Blok's grotesque, camivalized drama is an organic part of the dramatic searching of the epoch, not its negation or rejection. His burlesque depiction of characters accentuated Solov'evian irony, which is often underestimated in the philosopher's artistic heritage. Blok's artistic device was lyricism, which we demonstrate to be a focal point of his dramas as well as in his theatrical studies. (Abstract shortened by ProQuest.).

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9780355685565Subjects--Topical Terms:

2144740
Slavic literature.
Subjects--Index Terms:

Russian literatureIndex Terms--Genre/Form:

542853
Electronic books.

Russian drama at the turn of the 19th and 20th centuries.
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520 $a The artistic explorations that were preoccupying cultural Europe around 1900 certainly did not eschew Russia. On the basis of the theoretical and dramatic works of three Russian authors, Nikolai Evreinov, Viacheslav Ivanov and Aleksandr Blok, we identify and describe three distinctive tendencies among the dramatic artistic pursuits of the beginning of the 20th century. To set these three currents in the context of the turn of century, the work of each is presented in conjunction with one or more of the leading spiritual or artistic figures of that time, namely Anton Chekhov, Friedrich Nietzsche, Vladimir Solov'ev and Maurice Maeterlinck. Nikolai Evreinov believed in reconstructing "real dramatic action", the theatricality at once instinctive not only to all actors, but also to all humankind. Me carnivalized serious themes such as death and fate and his jester's laugh can be heard both in his work and life. The theatralization of death in his one-act dramas is only an extreme form of his theatralization of life which is especially evident in The Chief Thing (1921), the most famous drama from Evreinov's aesthetic Utopian trilogy The Dual Theatre. Evreinov introduced the new concept of the monodrama as a projection of the soul of the main character. He would be pleased to see that monodrama is now a rather common artistic device for many filmmakers wishing to offer a first-person psychological portrayal of a given hero's mind. In our study Nikolai Evreinov is presented in contrast to Anton Chekhov. By this opposition we pose the question as to why Chekhov's plays became immortal rather than Evreinov's, whose only aim, in his life and work, was to conquer death. As our study shows, Evreinov's work never fell into complete oblivion, as Western scholars have never ceased to study his theory of theatre. His theoretical works have even inspired other scientific disciplines and his active approach to the theatre as a healing force has been inspirational for many art-therapy centres. New recent premieres of Evreinov's The Main Thing in Russia show that even his theatrical innovations are not completely defunct and are fighting their way back onto the stage. Viacheslav Ivanov was an expert on old cults and ancient art. We concentrate on his mystical drama Prometheus (1915) as a dramatic counterpart to his theoretical writings. As the analysis of the drama shows, it was more a dramatic illustration of the accompanying essay Action and Its Effect (1919), another artistic discussion with Friedrich Nietzsche's The Birth of Tragedy (Die Geburt der Tragodie, 1871). In his drama, Ivanov is close to Nietzsche's understanding of the Dionysian nature of Prometheus in his sacrifice for humanity. In his theoretical works as well as his own life Ivanov finally distanced himself from the work of the German philosopher by seeing the future of the spiritual world in Catholicism. He is the perfect representative of the mythological model in his attempt to resurrect old Greek mysteries. Convinced that theurgic service was the main reason for the existence of any art, he was searching for a reflection of a "higher reality" in our earthly existence, which would lead us to a final harmony with the chaotic "Dionysian" essence of our existence. Contrary to his theoretical writings, which remain challenging and inspirational for many contemporary scholars, Ivanov's attempt to resurrect old myths and the theurgic power which they had at the time of the Greek mysteries never even made it onto the real stage. His Prometheus, as well as Sologub's and Kuzmin's similar attempts to revive the ancient myths, will in all probability never be staged by the directors of the 21th century. Aleksandr Blok completes our triptych of authors. His drama The Puppet Show' (1906) represents an organic part of his spiritual growth, his further endeavour to comprehend his own myth of the Beautiful Lady (based on the philosophy of Vladimir Solov'ev). In the case of this particular drama, he achieved his aims with the help of the Italian Commedia dell'Arte, a love for the Russian People's Theatre and a deep knowledge of Western Symbolist drama as represented by Maurice Maeterlinck. Blok's grotesque, camivalized drama is an organic part of the dramatic searching of the epoch, not its negation or rejection. His burlesque depiction of characters accentuated Solov'evian irony, which is often underestimated in the philosopher's artistic heritage. Blok's artistic device was lyricism, which we demonstrate to be a focal point of his dramas as well as in his theatrical studies. (Abstract shortened by ProQuest.).
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