Titlebook: Russian Drama of the Revolutionary Period; Robert Russell Book 1988 Robert Russell 1988 civil war.comedy.drama.realism.revolution.Russia.U

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Contracture

Occlusion

The Civil War in Soviet Drama,aly and the Moscow Art Theatre. In prose fiction a young generation of talented non-Communist writers, to whom Trotsky had given the name ‘fellow-travellers’, had emerged, but drama was slower to develop, and by the mid-1920s there was still no new repertoire on the theme of the Revolution.

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,Soviet Drama, 1917–21,cy were, of necessity, given a low priority. The creation of new cultural organisations was not entirely ignored, but it was plainly recognised that culture was the ‘third front’ on which the revolutionary war would be fought and that it was much less significant, at least in the short term, than th

臭名昭著

The Civil War in Soviet Drama,es were crudely propagandistic and unsuitable for the professional stage. In the post-war years, as the political situation gradually became more stable, the need was felt for a more polished dramatic repertoire about the Revolution and Civil War, one which could be staged by such companies as the M

refraction

,Bulgakov’s , and ,nt that owes more to politics than to art. Artistically, such works as . and . lag far behind much of the drama of the pre-revolutionary period. The lessons of Chekhov about the representation of reality on the stage have here been completely overlooked, and the complexity of motivation which he rev

Accommodation

The Plays of Nikolay Erdman,s phrase ‘in the true traditions of Gogol’.. His first play, . (also sometimes translated as .), written in 1924, enjoyed a successful run at the Meyerhold Theatre in the 1920s and was briefly revived in the 1950s, but the text was not published in the Soviet Union and, although often described, the

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