Subversive stages: theater in pre- and post-communist Hungary, Romania, and Bulgaria
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| Beschreibung: | Literaturverzeichnis Seite 203-209 ; Index |
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| 505 | 8 | |a Foreword: The ghosts of history redux: intertextuality, rewriting, adaptation / by Jozefina Komporaly -- Introduction: The Russian and French masters. The political ghosts and ideological phantasms of Nic Ularu's The cherry orchard, a sequel -- Adapting Molière and Jules Verne to Soviet censorship: Mikhail Bulgakov's A cabal of hypocrites and The crimson island -- György Spiró's The impostor: rethinking Molière's Tartuffe for communist Hungary -- Shakespeare in Central and Eastern Europe. Stalinist "traitors" and "saboteurs": Matéï Vișniec's Richard III will not take place or scenes from the life of Meyerhold -- Staging Hamlet as political no exit in Géza Bereményi's Halmi -- Nedyalko Yordanov's The murder of Gonzago: reading Bulgaria's communist political culture through Shakespeare's Hamlet -- Inserting god into politics. Specters of state power, history, and politics of the stage: Vlad Zografi's Peter or the sun spots -- Inserting god into the communist personality cult: Stefan Tsanev's The other death of Joan of Arc -- Conclusion | |
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Table of Contents Foreword The Ghosts of History Redux: Intertextuality, Rewriting, Adaptation by Jozefina Komporaly. ix Introduction. 1 Part 1 THE RUSSIAN AND FRENCH MASTERS I. II. III. The Political Ghosts and Ideological Phantasms of Nie Ularu’s The Cherry Orchard, A Sequel . 29 Adapting Molière and Jules Verne to Soviet Censorship: The Alchemical Politics of Bulgakov’s A Cabal of Hypocrites and The Crimson Island. 51 György Spiro’s The Impostor: Rethinking Molière’s Tartuffe for Communist Hungary. 75 Part 2 SHAKESPEARE IN CENTRAL AND EASTERN EUROPE IV. Stalinist “Traitors” and “Saboteurs”: Matei Vişniec’s Richard III Will Not Take Place or Scenes from the Life ofMeyerhold.95 V. Staging Hamlet as Political No Exit in Géza Bereményi’s Halmi , . . .115 VI. Nedyalko Yordanov’s The Murder ofGonzago: Reading Bulgaria’s Communist Political Culture through Shakespeare’s Hamlet. 135
Part З INSERTING GOD INTO POLITICS VII. Specters of State Power, History, and Politics of the Stage: Vlad Zografi’s Peter or TheSun Spots .157 VIII. Inserting God into the Communist Personality Cult: Stefan Tsanev’s The Other DeathofJoan ofArc. 177 Conclusion . 197 Bibliography. 203 Index.211 viii
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McRae. Cambridge, MA: Harvard University Press, 1962. Brent, Jonathan. Inside the Stalinist Archives: Discovering the New Russia. New York: Atlas, 2008. 203
Subversive Stages Brent, Lisa. “Critical Essay on Tartuffe.” In Drama for Students voi. 18. Ed. David A. Galens, 113-22. Detroit: Gale, 2003. Brodsky, Joseph. Less Than One: Selected Essays. New York: Farrar, Straus and Giroux, 1986. Bukharin, Nikolai. Historical Materialism: Ճ System of Sociology. Ann Arbor: University of Michigan Press, 1969. Butor, Michel. “Le point suprême et l’âge d’or à travers quelques romans de Jules Verne.” Répertoire, 1 (1960): 132-148. Cardullo, Bert. Comparative Stages: Essays in the History ofEuro-American Drama. Newcastle: Cambridge Scholars Publishing, 2008. Cardullo, Robert. “Molières Tartuffe.” Explicator 67, no. З (2009): 173-76. Carimeli, Deborah, and Imelda Whelehan, eds. Adaptations: From Text to Screen, Screen to Text. London: Routledge, 1999. Cinpoeş, Nicoleta. “The Long Night’s Journey into Today: The Romanian Hamlet of the ’80s.” In Shakespeare in Romania, 1950 to the Present. Ed. Monica MateiChesnoiu, 140-69. Bucharest: Humanitás, 2008. --------. Shakespeare’s Hamlet in Romania, 1778-2008: A Study in Translation, Performance, and Cultural Adaptation. Levinstone, NY: Edwin Mellen Press, 2010 Clark, Katerina. Moscow, The Fourth Rome: Stalinism, Cosmopolitanism, and the Evolution of Soviet Culture, 1931-1941. Cambridge: Harvard University Press, 2011. Conrad, Joseph. Under Western Eyes. Ed. Jeremy Hawthorn. Oxford: Oxford University Press, 1985. Coursen, H.R. Reading Shakespeare on Stage. Newark: University of Delaware Press, 1995. Crane, Milton. “Shakespeare in Czechoslovakia.” Review of Shakespeare in Czechoslovakia, by Jaroslav
Pokorny.” Shakespeare Quarterly 8, no. 1 (1957): 119. Curtis, J.A.E. Manuscripts Don’t Burn: Mikhail Bulgakov, A Life in Letters and Diaries. London: Bloomsbury, 1991. de Grazia, Margreta. Hamlet without Hamlet. Cambridge: Cambridge University Press, 2007. Delabastita, Dirk, Jozef de Vos, and Paul Franssen, eds. Shakespeare and European Politics. Newark: University of Delaware Press, 2008. Derrida, Jacques. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. New York: Routledge, 1994. Dimitrov, Georgi. The Diary of Georgi Dimitrov (1933-1949). Ed. Ivo Banac. New Haven: Yale University Press, 2003. ------- . Selected Works, Vol. V, VII, VIII, X, XIV. Sofia: Sofia Press, 1972. Dobrenko, Evghenii. “The Gogols and the Shchedrins: Lessons in Positive Satire.” Russian Studies in Literature 50, no. 2 (2014): 27-62. 204
Bibliography Dudley, Andrew. “Adaptation.” In Film Adaptation. Ed. James Naremore, 28-37. London: Athlone Press, 2000. Dupcsik, Csaba. “The West, the East and the Border-Lining.” Social Sciences in Eastern Europe Newsletter, Special Edition, 2001. Fergusson, Francis. Plays by Molière. New York: Random House, 1950 Figes, Orlando. Natasha’s Dance—A Cultural History ofRussia. New York: Picador, 2002. Gati, Charles. Failed Illusions: Moscow, Washington, Budapest and the 1956 Hungarian Revolution. Stanford, CA: Stanford University Press, 2006. Gerould, Daniel, ed. Playwrights before the Fall: Eastern European Drama in Times of Revolution. New York: Martin E. Segal Theatre Center Publications, 2009. Gibinska, Marta, and Jerzy Limon, eds. Hamlet East-West. Gdansk: Theatrum Gedanense Fondation, 1998. Gibinska, Marta, and Agnieszka Romanowska-Kowalska, eds. Shakespeare in Europe: History and Memory. Krakow: Jagiellonian University Press, 2008. Gilman, Richard. Chekhov’s Plays: An Opening into Eternity. New Haven: Yale University Press, 1995. Hadjinikolov, V. “Georgi Dimitrov and the Role of the Soviet Union in the World Revolution Process.” In Georgi Dimitrov: An Outstanding Militant of the Comintern, 287-314. Sofia: Sofia Press, 1972. Hawthorn, Jeremy. “Introduction.” In Under Western Eyes, Joseph Conrad, x-xiii. Oxford: Oxford University Press, 1985. Hegel, G.W.F. Lectures on the History ofPhilosophy. London: University of Nebraska Press, 1995. Heim, Michael, and Simon Karlínsky, trans. Anton Chekhov’s Life and Thought: Selected Letters and Commentary. Berkeley: University of
California Press, 1975. Heizer, James, “The Cult of Stalin, 1929-1939.” PhD diss., University of Kentucky, Lexington, KY, 1977. Heilman, Lillian, ed. The Selected Letters of Anton Chekhov. New York: Farrar, Straus and Giroux, 1984. Herold, J. Christopher. The Age of Napoleon. Boston: Houghton Mifflin, 1963. Hirst, Paul, “Carl Schmitt’s Decisionism.” In The Challenge of Carl Schmitt. Ed. Chantal Mouffe, 7-17. New York: Verso, 1999. Hutcheon, Linda. A Theory ofAdaptation. New York: Routledge, 2006. Judt, Tony. “The Rediscovery of Central Europe.” In Eastern Europe . Central Europe. Europe. Ed. S. R. Graubard, 23-58. Boulder, CO: Westview Press, 1991. Kelly, Catriona. Children’s World: Growing Up in Russia, 1890-1991. New Haven: Yale University Press, 2007. Kennedy, Dennis. “Introduction: Shakespeare without His Language.” In Foreign Shakespeare: Contemporary Performance. Ed. Dennis Kennedy, 1-18. Cambridge: Cambridge University Press, 2004. 205
Subversive Stages Komporaly, Jozefina, “Hamlet as Contestation: On Truth, Revelation and Performability.” In Radical Revival as Adaptation: Theatre, Politics, Society. Ed. Jozefina Komporaly. New York: Paigrave, forthcoming, 2017. Kopecký, Jan. “Shakespeare’s Forgotten Theatre: A Contribution to the Problems of the Theatre Today.” In Charles University on Shakespeare. Ed. Zdenek Stříbrný, 93-175. Prague: Universita Karlova, 1966. Kotkin, Stephen. Magnetic Mountain: Stalinism as a Civilization. Berkeley: University of California Press, 1995. Kovačevič, Natasa. Narrating Communism: Colonial Discourse and Europe’s Borderline Civilization. New York: Routledge, 2008. Lacan, Jacques. “Kant avec Sade.” In Écrits. Trans. James B. Swenson, 765-790. Paris: Seuil, 1966. Lenin, Vladimir I. What Is to Be Done. New York: International Publishers, 1929. ------- . Collected Works. Volume 28. 4th English Edition. Moscow: Progress Pub lishers, 1972. Lévinas, Emanuel. Autrement qu’être ou au-delà de l’essence. Paris: Kluwer Academie, 1974. ------- . Beyond the Verse: Talmudic Readings and Lectures. Trans. Gary D. Mole. Bloomington: Indiana University Press, 1994. ------- . Entre nous: essays sur lepenser-à-l’autre. Paris: Grasset, 1991. Longworth, Philip. The Making ofEastern Europe: From Prehistory to Postcommu nism. 2nd ed. London: Macmillan, 1997. Luzzi, Joseph. “The Rhetoric of Anachronism.” Comparative Literature 61 (2009): 69-84. Macherey, Pierre. Pour une théorie de la production littéraire. Paris: Maspero, 1966. Magiaru, Daniela. Mirajul cuvintelor calde [The charm of spirited
words]. Bucharest: Editura Institutul Cultural Român, 2010. Martin, Andrew. The Mask of the Prophet: The Extraordinary Fictions ofJules Verne. Oxford: Clarendon Press, 1990. Marx, Karl. “The Eighteenth Brumaire of Louis Bonaparte.” In The Marx-Engels Reader. 2nd ed. Ed. Robert C. Tucker, 594-617. New York and London: Norton, 1978. ------- . “The German Ideology: Part I.” In The Marx-Engels Reader. 2nd ed. Robert C. Tucker, 146-202. New York and London: Norton, 1978. Massie, Robert K. Peter the Great: His Life and World. New York: Ballantine Books, 1980. Matei-Chesnoiu, Monica. Shakespeare in the Romanian Cultural Memory. Cranbury, NJ: Associated University Presses, 2006. Meakin, David. “Future Past: Myth, Inversion and Regression in Verne’s Under ground Utopia.” In Jules Verne: Narratives ofModernity. Ed. Edmund J. Smyth, 94-108. Liverpool: Liverpool University Press, 2000. 206
Bibliography Meyerhold, Vsevolod. “The Naturalistic Theatre and the Theatre of Mood.” In Meyerhold on Theatre. Ed. Edward Braun, 23-33. London: Bloomsbury, 1969. Milosz, Czeslaw. The Captive Mind. New York: Knopf, 1953. Minier, Márta. “Claiming Shakespeare as Our Own.’” In Shakespeare in Europe: History and Memory. Ed. Marta Gibinska and Agnieszka Romanowska-Kowalska, 177-85. Krakow: Jagiellonian University Press, 2008. Molière. Plays. New York: Random House, 1950. Montefiore, Simon Sebag. Stalin: The Court of the Red Tsar. New York: Vintage Books, 2005. Muntyan, Bernard, ed. Marx and Engels about Art. Sofia: Partizdat, 1978. Nemirovitch-Dantchenko, Vladimir. My Life in the Russian Theatre. London: Geoffrey Bles, 1968. Obolensky, D. The Byzantine Commonwealth. New York: Praeger, 1971 Orgel, Stephen. “The Authentic Shakespeare.” Representations 21 (1988): 1-25. Owen, Ruth J., ed. The Hamlet Zone. Newcastle: Cambridge Scholars, 2012. Partikian, David. “Critical Essay on Tartuffe.” In Drama for Students, voi. 18. Ed. David A. Galens, 74-81, Detroit: Gale, 2003. Pavis, Patrice. Theatre at the Crossroads of Culture. London: Routledge, 1992. Pernoud, Regine, and Marie Véronique Clin. Joan ofArc: Her Story. New York: St. Martin’s Press, 1998. Pfister, Manfred. “Polish and German Hamlets in Dialogue.” In Hamlet East-West. Ed. M. Gibinska and J. Limon, 16-31. Gdansk: Theatrum Gedanense Foundation, 1998. Pokorny, Jaroslav. Shakespeare in Czechoslovakia. Prague: Orbis, 1955. Polgar, Alexandru, “The Communist Remainder.” In Genealogies ofPost-Commu nism. Ed. Adrian T. Sirbu and
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Subversive Stages Pye, Christopher. The Storm at Sea: Political Aesthetics in the Time of Shakespeare. New York: Fordham University Press, 2015. Rancière, Jacques. The Politics ofAesthetics: The Distribution of the Sensible. Trans. Gabriel Rockhill. London: Continuum, 2004. Reinhard, Kenneth. “Kant with Sade, Lacan with Levinas.” Comparative Literature Issue MLN110, no. 4 (1995): 785-808. Rudnitski, K. Meyerkhol’d. Moskow: Nauka, 1971. Schandl, Veronika. “History Interrupted: Hamlet and 1956 in Hungary.” In The Hamlet Zone. Ed. Ruth J. Owen, 105-15. Newcastle: Cambridge Scholars, 2012. Schmidt, Paul, trans. The Plays of Anton Chekhov. New York: Harper Perennial, 1999. Schmitt, Carl. Political Theology: Four Chapters on the Concept of Sovereignty. Chicago: University of Chicago Press, 2005. Serres, Michel. “Un Voyage au bout de la nuit: Jules Verne, Les Indes Noires.” Critiques 262 (1969): 291-303. Shakespeare, William. “Hamlet.” In The Oxford Shakespeare. Ed. G.R. Hibbard, 139-354. Oxford: Oxford University Press, 2008. ------- . “Richard III.” In The Oxford Shakespeare. Ed. John Jowett. Oxford: Oxford University Press, 2000 Shentalinsky, Vitaly. Arrested Voices: Resurrecting the Disappeared Writers of the Soviet Regime. New York: Free Press, 1996. Shore, Marci. The Taste ofAshes: The Afterlife of Totalitarianism in Eastern Europe. New York: Crown Books/Random House, 2013. Shurbanov, Alexander, and Boika Sokolova. Painting Shakespeare Red: An EastEuropean Appropriation. Newark: University of Delaware Press, 2001. Sobolev, A.I. “Georgi Dimitrov—Outstanding Militant and
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Bibliography Tucker, Robert C. Stalin in Power: The Revolution from Above 1928-1941. London: Norton, 1990 Ularu, Nie. The Cherry Orchard, A Sequel. Cluj, Romania: Casa Cărţii de Ştiinţă, 2012. Verne, Jules. Les Indes noires [The Child of the Cavern or The Black Indies], Paris: Hachette, 1967. Visky, András. “Barrack Dramaturgy and the Captive Audience.” In The Routledge Companion to Dramaturgy. Ed. Magda Romanska, 466-471. New York: Routledge, 2014. Vişniec, Mátéi. How to Explain the History of Communism to Mental Patients and Other Plays. Ed. Jozefina Komporaly. Chicago: Seagull Books, 2015. --------. Procesul comunismului prin teatru [The Trial of Communism through Theatre]. Bucharest: Humanitás, 2012. ------- . Richard III Will Not Take Place or Scenes from the Life ofMeyerhold. Paris: Editions Lansman, 2005. Volkov, Solomon. The Magical Chorus: A History of Russian Culture from Tolstoy to Solzhenitsyn. New York: Alfred A. Knopf, 2008. Webb, Adrian. The Routledge Companion to Central and Eastern Europe since 1919. New York: Routledge, 2008 Wilbur, Richard, trans. Molière: The Misanthrope and Tartuffe. New York: Har court, 1993. Worthen, Hana. “Within and Beyond: Pavel Kohout’s Play Makbeth and Its Audiences.” Gramma: Journal of Theory and Criticism 15 (2007): 111-32. Worthen, William B. Shakespeare and the Authority of Performance. Cambridge: Cambridge University Press, 1997. Yarmolinsky, Avrahm, ed. Letters of Anton Chekhov. New York: Viking, 1968. Yordanov, Nedyalko. Ubiystvoto na Gonzago [The Murder of Gonzago]. Sofia: Biblioteka 48,1999. Zografi, Vlad. “Peter or the
Sun Spots.” In Kiss Me: Confessions of a Bare-Footed Leper. Ed. Vlad Zografi, trans. Ileana Alexandra Orlich, 197-206. Gardena: Bettie Youngs Book Publishers, 2011. 209
Index 22 (journal), 29 Beatles, 122 Beauchamp, Richard, earl of Warwick, 185 Beckett, Samuel, 97,116, 119, 123,124, 126,130 Belarus, 6 Belotserkovsky, Bill, 60 Benjamin, Walter, 96 Benvolio, 141,142 Bereményi, Géza, xiii, 2, 18, 22, 23, 90, 115-33, 200 Beria, Lavrentiy, 24, 100, 146,149, 150,151, 169 Berlin, 136,141,184. See also West Berlin. Berlin Wall, ix, 6, 23,41,142,157,177, 184,195 Bevington, David, 138, 139 Bideleux, Robert, xvi Blagoev, Dimitar, 181 Blair, Tony, 11 Blokhin, 150,151 Bogusławski, Wojciech, xix, xx, 20, 80-91 Bolshevik Revolution, 29, 36, 37, 44, 64, 68, 107, 135, 137, 151,157,183 Bolshoi Theatre, 158 Bosnia, xvi Bratislava, 177 Brecht, Bertolt, 97 Adelman, Jane, 117 Albania, xvi Aleksandrinsky, 106 Alexander I, 79, 80, 81, 89 Amalia, 142 Amis, Martin, 101η Amsterdam, 163 Andrew, Joseph, 32 Anna Karenina, 97 Anya, 30, 31, 32, 34, 36,45 Apartment Theater, 10 Applebaum, Anne, 79 Aragon, Louis, 96 Argan, 59 Armande (Molière’s wife), 57 Arouet, François-Marie, 164 Astrakhan, 158 Athens, 177 Augustine, Saint, 173 Babel, 100,107,112,113 Bachelard, Guy, 62 Bakhtin, Mikhail, 201 Balkans, xvi, 180 Balzac, Honoré de, 200 Barba, Eugenio, 197 Barthes, Roland, 61 Băsescu, Traían, 29 211
Subversive Stages Brezhnev era, 122,126,179 Brodsky, Joseph, 3, 24,119, 126 Brother Fidelity, 57 Brother Force, 57 Bucharest, xi, 123, 147,184,197 Budapest, 22, 80, 83, 88, 116, 124,184, 197 Bukharin, Nikolai, 7,97, 98,99 Bulandra Theatre, xi, 147 Bulgakov, Mikhail, ix, xiii, xiv, xviii, 2, 17,19, 20, 51-73, 75, 78, 82, 83, 84, 88η, 90,100, 104, 179, 200 Bulgaria, ix, x, xiii, xv, xvi, xvii Burgas Theatre, 140 Burgtheater, 197 Buturlin, Alexander, 164 Byron, 96 Byzantium, 3,136,158,159, 160,180, 182, 188 Chodźko, xiv, 82, 90 Cinpoeş, Nicoleta, xii, 115,148 Clark, Katerina, 96,100,168 Claudius, 13, 23,120, 138,141-3,147, 148, 150-3 Cluj (Romania), xi, 177,202 Coal-City, 65,68 Coco, 165,167 Cold War, 78, 120, 124,140,141 Compagnie du Saint Sacrament, 54, 57, 76, 77, 78 Conquest, Robert, 102 Conrad, Joseph, 98,172 Constantinople, 3,158,162,172,180, 182,190 Cordelia, 125 Corvinus, Matthias, 4 Coursen, H. R„ 2 Czech Republic, xvi, xviii Czechoslovakia, 6,9,10,21,121,153 Caligula, 11 Camus, 11 Captain Grant, 19, 60, 200 Caramitru, Ion, 147,197 Carter, Jimmy, 123 Castelgoffredo, Marchese di, 149 Catholic Church, 19, 83,181,185, 186 Cauchon, Pierre, bishop of Beauvais, 185,187, 191, 193,194 Ceauşescu, Nicolae, 14,25, ЗО, 121, 123, 147, 148 Černý, Jindřich, 21 Charles II, 170 Charles VII, 185,187 Charles, dauphin, 180,194 Charpyde Sainte-Croix, Louis, 77 Charron, Marquis de, 57 Checkpoint Charlie, 79 Chekhov, Anton, x, xiii, xv, 1,15,16, 18, ЗО, 31, 32, 33, 35-44, 48,49, 56, 71, 107,198, 199 Chekhov, Michael, 138 de Grazia, Margreta, 123,138,140 Denmark, 14, 118,120, 130,139, 140,
142,152, 167 Derrida, Jacques, 118,123, Dilema, 29 Dimitrov, Georgi, 23, 25, 26, 110,13537, 177, 178,180-88, 192-95, 201 Dolgoruky, Vasily, 164 Dracula, 4n Dudley, William, 139 Dulles, John Foster, 80 Dymogatsky, Vasily Arturovich, 6372 Ehrenburg, Ilya, 96,107,122,126 Eisenhower, Dwight, 121 Eisenstein, Sergei, 96, 97, 101,107,157, 158, 159,162, 163 Elmirę, 75, 85, 86, 87 Elsinore, 13, 23, 139,140,141,149, 151,200 212
Index Engels, Friedrich, 8, 95, 96,181, 182, 188, 199 England, 7, 21,101,103, 106, 112, ИЗ, 140, 153,185,187,194 Enlightenment, 3, 37,159, 168, 172 Erdősi, Péter, xiin Euripides, 97 Eyre, Richard, 139 Goethe, Johann, Wolfgang von, 7, 96, 199 Gogol, Nikolai, xv, 107 Golovkin, Gavriil, 164 Gombrowicz, Witold, xv Gorbachev, Mikhail, 190,191 Gorchakov, Nikolay, 56 Gorky, Maxim, xv, 8, 33, 53, 99,100, 150, 200 Govorkov, Viktor, 97 Grainville, Patrick, 61 Grandage, Michael, 11 Great Terror, 58, 99,113, 122 Grisha, 41,43, 44, 46, 48 Grotowski, Jerzy, xv Guildenstern, 125, 139, 153 Gulag, xx, 24, 96, 122, 142,169, 172 Gyimesi, 125 Farra-Teytey, 63, 64, 65, 66, 67, 71 Father Barthélémy, 57 Faust, 8 Feuchtwanger, Leon, 96 Figes, Orlando, 38,43n, 161,167 Filofei of Pskov, 158 Firs, 30, 32, 37, 41,43, 44, 48 Foglyos, 125, 127 Ford, Gerald, 123 Fortinbras, 125,142-46,150, 151, 152 France, xviii, 11,17,20,24,25, 31, 38, 53, 57, 58, 68, 77, 78, 84, 86, 96, 102, 112, 113, 122, 125,126, 157, 159, 160,164,166,167,181, 185, 186, 187,188,190, 192,193, 194, Halmi, 2, 22, 23, 90,115-33, 200 Hamlet, xi, xii, xiii, xix, 8, 9,10,13, 14, 15, 18, 22, 23, 37, 39, 40, 83, 115-33,135-54, 200 Havel, Václav, xv, 3,153 Hegel, GWF., 30, 96 Heine, Heinrich, 96 Hemingway, Ernest, 96,122 Henry V, 194 Henry VI, 180,185,194 Herzegovina, xvi Hirst, Paul, 104 Hitler, Adolf, 89,112,186 Holy Synod, 172 Holy Writ, 58 Horatio, 23,125, 142-48, 150, 152 Horváth, 123, 125,127 Hundred Years War, 180,185,186 Hungarian State Theatre Hungary, ix, x, xv, xvi, xvii, xviii, xix, З, 4, 5,6, 14, 20, 21, 23, 30, 79, 80, 82, 84,
88, 89, 90, 92, 116-28,130, 132,184,186, 197, 198,199, 201 200, 201 Fronde, 76, 84 Gallagher, Thomas, xvii Garber, Marjorie, 117 Gayev, Leonid, 31, 32, 34, 38, 41, 43, 44 Generalissimo, 22,102, 103,105,106, 110,113 Germany, xv, 96,135,184,186 Gerould, Daniel, 6 Gertrude, 117,120, 125,146n, 148 Gide, André, 96, 99, 100, 112 Gilman, Richard, 15, 39 Glasnost, 179 Glenarvan, 63,67,69 Globe Theatre, 1 Godot, 123,130 213
Subversive Stages Hutcheon, Linda, xiv Ibsen, Henrik, x Inquisition, 20,190,194 Iofan, Boris, 168 Iordachi, Christian, xvii Iron Curtain, 2, 4,11, 117, 120, 123, 139,154 Italy, 122 Ivan IV (the Terrible), 101, 157, 158, 159,162, 165 Ivanov, 15, 33, 39,40 Kremlin, 25,96, 97,100,121,122,149, 152,153,157,166,177,179,184, 201 Kundera, Milan, 3,144,200 Lacan, Jacques, 159,162 Laertes, 125, 126, 138,142,152 Lakóba, Nestor, 150 Lendvai, Paul, xvii Lenin, Vladimir L, 16, 26, 64, 65, 71, 95, 99,107, 110,126,169, 177,181, 183, 184, 185, 188, 192 Levinas, Emanuel, 162,173,174 Lezhnev, Isay, 52 Lithuania, 81 Livezeanu, Irina, xv London, 1,11, 139, 163 Longworth, Philip, 4n, 159, 178 Louis XIV, 19-20, 54, 56, 57, 58, 75, 76, 77, 81, 83, 84, 85, 86 Lukacs, Georg, 96,121 Luther, Martin, 140 Luzzi, Joseph, 41 Jeffries, Ian, xvi Jesus, 190, 193 Joan of Arc, xiii, xx, 25, 26,177,180, 181,185-195,199, 201 Joyce, James, 96 Judt, Tony, 121 Just, Vladimir, 7 Kádár, János, 14,121 Kafka, Franz, 192 Kahn, Coppella, 117 Kalb, Jonathan, 115 Kant, Immanuel, 159 Kazan, 158 Kennedy, Dennis, 11 Kerensky, Alexander Fyodorovich, 64, 71 Khrushchev, Nikita, 122, 188 Kiev, 52, 172, 197 Ki-Kum, 63, 64, 65, 67, 71 King Frederic IV, 167 King Lear, 199 Kiri-Kuki, 64, 66, 67, 68, 71 Kohout, Pavel, 10 Komporaly, Jozefina, 102n Kopecký, Jan, 11 Kosciuszko, Tadeusz, 83,89 Kotkin, Stephen, 16, 95η Kott, Jan, x Kozintsev, Grigory, 138 Macedonia, xvi, 197 Macherey, Pierre, 61 Magnitogorsk, 69, 79, 160,161 Maier, Charles S., 129 Malraux, André, 96, 99, 100, 113 Man of Steel, 103, 105,157, 169 Mann, Thomas, 96 Manque,
Pierre de la, 165, 168, 169, 174 Marionovsky, Grigory, 150 Martin, Andrew, 61 Marx, Karl, 8, 16, 30,42, 47, 95, 96, 178, 181, 182, 183, 188,191,199 Massie, Robert K., 164 Matei-Chesnoiu, Monica, xii Mayakovsky, Vladimir, 53, 72,153 Meyerhold, Vsevolod, xv, xix, xx, 12, 21, 22, 23, 39, 100-13, 120,135, 151, 200 214
Index Miller, Jonathan, 139 Milosz, Czeslaw, 3,117,144 Milyavsky, B., 53 Minier, Márta, xii, 115η Mishkova, Diana, xvii MITEM (Madách International Theatre Meeting), 197, 202 Moirron, Zachary, 58, 59 Moldova, 6-7 Molière, x, xiii, xix, 1, 7, 16,19, 20, 51-9,68, 75-91, 199, 200, 201 Montefiore, Simon Sebag, 150,169 Montenegro, xvi Morfov, Alexander, 197 Moscow, 7, 8, 19, 23, 36, 37, 38, 52, 55, 88, 99, 100,123,126,129, 130,135, 136,140, 154, 158,162, 166, 168, 169, 172,177,179,182, 184, 185, 186,190, 200, 201 Moscow Art Theatre, 38, 51, 57, 59, 72, 97,106,138 Mrożek, Sławomir, xv Müller, Heiner, 123 Orwell, George, 144 Osterman, Andrey, 164 Ottoman Empíre, 3,4,190 Owen, Ruth J., 115 Paganei, 63,67,69 Panfilovích, Gennadi, 63,64,65,68, 70, 71, 72, 82 Paris, 11, 30, 32, 34, 57, 78, 97, 100, 123,138, 162, 163,164,166,169, 185,186,193, 194, 200, 201 Passpartout, 63 Pasternak, Boris, 138 Pelle, János, xvii Perestroika, 179 Peshkov, Max, 150 Peter the Great, xiii, xx, 24, 25, 33, 63, 98, 126,157-73, 178,201 Pilisi, 124-27, 132 Planchón, Roger, 86 Pokorný, Jaroslav, 8,9,10 Poland, xvi, xviii, xix, 3, 6, 20,21, 79, 80, 81, 82, 83, 84, 88, 89, 90, 91, 121,140,152,186, 201 Polonius, 125, 126,138,142,143, 144, 146,147,152 Pope Benedict XIII, 193 Prague, 10,141, 200 Pushkin, Alexander, 33, 63 Nagy, Imre, 121 Napóleon, 79, 80, 81, 89, 158 Narbonne, Count, 81 Nemirovich-Danchenko, Vladimir, 97,100,106 Nicholas II, 65 Niemcewicz, Julian Ursyn, 80 NKVD, 19, 60, 102,150,172 Norway, 139,140,152 Nowa Huta, 79 Rabelais, François, 7, 200, 201 Racine, Jean, 83 Radio Free Europe, 121,190 Rancière,
Jacques, 163 Ranevskaya, 18, 30, 31, 32, 34, 36,37, 38,40,41,43, 44, 47,48 Ranevsky, 31, 32, 33, 36, 40, 41, 43, 45 Razumov, Kirylo Sidorovitch, 98 Red Army, 121,167 Red Square, 158,166,184 Red Tsar (Stalin), 24, 81, 150, 152, 159, 160,165,169, 188 Odin Teatret, 197 Ophelia, 117,120, 125,126,139,142, 149 Orgel, Stephen, 13 Orgon, 75-8, 84-6 Orthodox Church, 24, 25,160, 163, 165, 178,180,182, 188 215
Subversive Stages Reformation, 3,172 Reichstag Fire, 136, 201 Reinhard, Kenneth, 159, 162 Renaissance, 3,172 Richard III, 12, 21, 95,101,105, 106, 108,109, 110, 112 Rolland, Romain, 96 Romania, ix, x, xi, xii, xiv, xv, xvi, xvii, xviii, 2, 3, 4, 5, 6, 7,14, 17, 21, 22,24, 25, 29, 30, 46, 79,102,103, 121, 122, 147, 162,177, 178, 180, 186,197, 198,199 Rome, 158, 159,162,168 Rosencrantz, 125 Rossiia, 52 Rouen, 180, 191, 194 Russia, xv, xix, 3, 5, 7,15, 18, 20, 21, 22, 24, 25, 30, 35, 36, 38-42, 44, 48, 53, 54, 62, 63, 79, 81, 88, 89, 90, 91, 98, 99, 103,106,110,135,136, 137, 138, 139,140,150, 152,160, 162-75,177,178, 180,181, 184, 186, 188, 192,198, 200, 201 146, 148,149,151, 152,153,197, 199, 200, 202 Sheremetev, Pavel, 37 Shore, Marci, xvi Shostakovich, Dmitri, 138 Shurbanov, Alexander, xi, 8 Sibiu International Theatre Festival, 202 Simonov, Konstantin, 120 Sisman, Michael, 180 Sizi-Buzi, 64, 65, 66, 67, 68 Skopje, 197 Slovakia, xvi, 3 Sobolev, A. I., 181 Sofia, 144,177, 179,184,194 Sokolova, Boika, xi Solzhenitsyn, Aleksandr, 2,16n, 36, 144,166, Soviet bloc, ix, 2, 6, 7, 8,12,19, 22,24, 41, 48, 79, 82, 89, 90, 102, 115,117, 119, 120,122,123, 129, 130, 137, 140, 147, 152, 153, 159, 178,182, 184, 186, 198, 199 Soviet Union, x, xiii, 2, 7, 8,15,16,19, 20,25,41,46, 55, 58, 62, 64, 65, 69, 70, 72, 73, 79, 81, 82, 88, 96-100, 103,104,105,106,112,120,121, 126,127,129,135,136,137,139, 142,143,149-54, 157,159,160,162, 168,175,177,178,179,182,183, 184.185.187.188, 191,198-201 Spain, 21,103,122 Spirò, György, xiii, xiv, xviii, xix, xx, 2, 17, 20, 75-92, 201 Stafford, Barbara, 165
Stalin, Joseph, xiv, xx, 7,10,12,14,16, 21,22,23, 24,46,48, 51, 52, 53, 54, 56, 57, 58, 59, 60, 62, 64, 69, 73, 81, 82, 89, 90, 95-113,115,120,122, 125,132,135,136,137,138,143, 146,148-54,157, 159-65,167,169, 170,171,172,174,175,178,179, 182.183.188, 200 Sade, Marquis de, 159 Saint Petersburg, 33, 126,158,160, 161 Saint-Simon, Henri de, 163 Sartre, Jean-Paul, 22,116, Savva Lukich, 63,64,65,68, 70, 71, 72, 82, 104 Schandl, Veronika, xii, 119n Schengen, xvi, 2,4 Schmitt, Carl, 104 Serbia, xvi, 180 Serres, Michel, 62,68 Shafirov, Peter, 164 Shakespeare, William, x, xi, xii, xiii, xix, 1, 5, 7, 8, 9, 10, 11,12, 13, 14, 15,16, 18, 19, 21, 22, 23, 83, 96113,115-20,123,124, 125, 126, 131,135, 138,139,140, 142,144, 216
Index Stalinism, xiv, xvii, xix, 3-7,18,19, 20, 21, 22, 24, 25, 36, 44, 46, 48, 51, 55, 58, 62, 65, 70, 73, 79, 88, 89, 91, 92, 102,105,109,113,116, 119, 122, 126,129,130, 133,135, 138, 141,142,147,148,159, 160, 165, 169, 177,178,179,180, 181, 188, 195, 198,199, 200, 201, 202 Stanislavsky, Konstantin, xv, 38, 39, 56, 70-ln, 100,106,198 Stoppard, Tom, 10,16, 20, 128, 139 Strasberg, Lee, 97 Suvorin, Alexei, 15, 33 Sweden, 172 Sziklai, László, xvii Szilágyi-Gál, Mihály, xiin Sztálinváros, 79 USSR, 18,22, 24, 53, 54,60, 65, 96,100, 115,117,135,162,163,170,171 Verne, Jules, xiii, 16,19, 51-73, 199, 200 Vienna, 82, 128,163 Vilnius/Vilna, 81, 83, 88, 89, 91 Vişniec, Matei, xiii, xviii, xix, xx, 12, 17, 21, 49,102, 103,105, 109,110 Vlad III Tepes, 4n Vlad the Impaler, 4n Volkov, Solomon, 52 Voltaire, 164 von Klimo, Arpad, xv Vyshinsky, Andrei, 99 Wandycz, Piotr, xvi Warsaw, 81, 83, 177 West Berlin, 123, 153 Witkiewicz, xv Wittenberg, 139,140, 144 Wolf, Larry, 3 Worthen, Hana, 9 Worthen, W. B., xi, 12,13, 14 Tabajdi, Gábor, xvii Tartuffe, xix, 20, 52, 54, 56, 59, 75-92, 201 Tocilescu, Alexandra, xi, 147,148 Tolstoy, Leo, 36,45, 46, 97,200 Tolstoy, Peter, 164 Tompa, Gábor, xi Trofimov, Petya, 31, 32, 35, 36, 41, 43-8, 198 Trotsky, Leon, 64, 65, 66, 71, ПО, 144, 169 Truman, Harry, 120 Tsanev, Stefan, xiii, xx, 3,18, 25,177, 179, 180, 182, 184,185,186,187, 189, 190,191,192, 195, 201 Tzekov, Tzeko Krustēv, 190 Yagoda, 150 Yaguzhinsky, Pavel, 164 Yalta Agreement, 7,90,136,140,142 Yasha, 30-2,41 Yepikhodov, Semyon Panteleyevich, 31, 32, 34,41, 42, 43, 45, 46, 48, 198 Yezhov, 150,151
Yordanov, Nedyalko, xiii, xix, 18,138, 139,149,154 Ukraine, 6,172, 197 Ulara, Nic, xiii, xviii, 2,17,18, 29-49, 198 Ungváry, Krisztián, xvii United States, xviii, 17, 30, 120, 121, 129 Zhivkov, Todor, 14, 25,178, 179, 181, 186,187, 188, 190, 195 Zografi, Vlad, xiii, xx, 18, 159,162, 163,164, 167 Zotov, Nikita, 169-70 217 |
| any_adam_object | 1 |
| author | Orlich, Ileana Alexandra |
| author_GND | (DE-588)1089520549 |
| author_facet | Orlich, Ileana Alexandra |
| author_role | aut |
| author_sort | Orlich, Ileana Alexandra |
| author_variant | i a o ia iao |
| building | Verbundindex |
| bvnumber | BV043842035 |
| classification_rvk | IX 5550 KZ 1170 |
| contents | Foreword: The ghosts of history redux: intertextuality, rewriting, adaptation / by Jozefina Komporaly -- Introduction: The Russian and French masters. The political ghosts and ideological phantasms of Nic Ularu's The cherry orchard, a sequel -- Adapting Molière and Jules Verne to Soviet censorship: Mikhail Bulgakov's A cabal of hypocrites and The crimson island -- György Spiró's The impostor: rethinking Molière's Tartuffe for communist Hungary -- Shakespeare in Central and Eastern Europe. Stalinist "traitors" and "saboteurs": Matéï Vișniec's Richard III will not take place or scenes from the life of Meyerhold -- Staging Hamlet as political no exit in Géza Bereményi's Halmi -- Nedyalko Yordanov's The murder of Gonzago: reading Bulgaria's communist political culture through Shakespeare's Hamlet -- Inserting god into politics. Specters of state power, history, and politics of the stage: Vlad Zografi's Peter or the sun spots -- Inserting god into the communist personality cult: Stefan Tsanev's The other death of Joan of Arc -- Conclusion |
| ctrlnum | (OCoLC)992546828 (DE-599)BVBBV043842035 |
| discipline | Slavistik Romanistik |
| era | Geschichte 1900-2000 Geschichte gnd |
| era_facet | Geschichte 1900-2000 Geschichte |
| format | Book |
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The political ghosts and ideological phantasms of Nic Ularu's The cherry orchard, a sequel -- Adapting Molière and Jules Verne to Soviet censorship: Mikhail Bulgakov's A cabal of hypocrites and The crimson island -- György Spiró's The impostor: rethinking Molière's Tartuffe for communist Hungary -- Shakespeare in Central and Eastern Europe. Stalinist "traitors" and "saboteurs": Matéï Vișniec's Richard III will not take place or scenes from the life of Meyerhold -- Staging Hamlet as political no exit in Géza Bereményi's Halmi -- Nedyalko Yordanov's The murder of Gonzago: reading Bulgaria's communist political culture through Shakespeare's Hamlet -- Inserting god into politics. 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| geographic | Osteuropa (DE-588)4075739-0 gnd |
| geographic_facet | Osteuropa |
| id | DE-604.BV043842035 |
| illustrated | Not Illustrated |
| indexdate | 2025-01-10T13:16:25Z |
| institution | BVB |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029252542 |
| oclc_num | 992546828 |
| open_access_boolean | |
| owner | DE-11 DE-12 |
| owner_facet | DE-11 DE-12 |
| physical | XX, 217 Seiten |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | Central European University Press |
| record_format | marc |
| spelling | Orlich, Ileana Alexandra (DE-588)1089520549 aut Subversive stages theater in pre- and post-communist Hungary, Romania, and Bulgaria Ileana Alexandra Orlich Budapest ; New York Central European University Press [2017] XX, 217 Seiten txt rdacontent n rdamedia nc rdacarrier Literaturverzeichnis Seite 203-209 ; Index Foreword: The ghosts of history redux: intertextuality, rewriting, adaptation / by Jozefina Komporaly -- Introduction: The Russian and French masters. The political ghosts and ideological phantasms of Nic Ularu's The cherry orchard, a sequel -- Adapting Molière and Jules Verne to Soviet censorship: Mikhail Bulgakov's A cabal of hypocrites and The crimson island -- György Spiró's The impostor: rethinking Molière's Tartuffe for communist Hungary -- Shakespeare in Central and Eastern Europe. Stalinist "traitors" and "saboteurs": Matéï Vișniec's Richard III will not take place or scenes from the life of Meyerhold -- Staging Hamlet as political no exit in Géza Bereményi's Halmi -- Nedyalko Yordanov's The murder of Gonzago: reading Bulgaria's communist political culture through Shakespeare's Hamlet -- Inserting god into politics. Specters of state power, history, and politics of the stage: Vlad Zografi's Peter or the sun spots -- Inserting god into the communist personality cult: Stefan Tsanev's The other death of Joan of Arc -- Conclusion Text englisch Shakespeare, William / 1564-1616 / Adaptations / History and criticism Molière 1622-1673 (DE-588)11858331X gnd rswk-swf Shakespeare, William 1564-1616 (DE-588)118613723 gnd rswk-swf Geschichte 1900-2000 Geschichte gnd rswk-swf East European drama / 20th century / History and criticism Russian drama / Adaptations / History and criticism French drama / Adaptations / History and criticism English drama / Adaptations / History and criticism Communism and literature / Europe, Eastern Kommunismus (DE-588)4031892-8 gnd rswk-swf Politik (DE-588)4046514-7 gnd rswk-swf Postkommunismus (DE-588)4998161-4 gnd rswk-swf Drama (DE-588)4012899-4 gnd rswk-swf Osteuropa (DE-588)4075739-0 gnd rswk-swf Molière 1622-1673 (DE-588)11858331X p Shakespeare, William 1564-1616 (DE-588)118613723 p Osteuropa (DE-588)4075739-0 g Drama (DE-588)4012899-4 s Kommunismus (DE-588)4031892-8 s Postkommunismus (DE-588)4998161-4 s Politik (DE-588)4046514-7 s Geschichte z DE-604 Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029252542&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029252542&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029252542&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Personen- und Ortsregister |
| spellingShingle | Orlich, Ileana Alexandra Subversive stages theater in pre- and post-communist Hungary, Romania, and Bulgaria Foreword: The ghosts of history redux: intertextuality, rewriting, adaptation / by Jozefina Komporaly -- Introduction: The Russian and French masters. The political ghosts and ideological phantasms of Nic Ularu's The cherry orchard, a sequel -- Adapting Molière and Jules Verne to Soviet censorship: Mikhail Bulgakov's A cabal of hypocrites and The crimson island -- György Spiró's The impostor: rethinking Molière's Tartuffe for communist Hungary -- Shakespeare in Central and Eastern Europe. Stalinist "traitors" and "saboteurs": Matéï Vișniec's Richard III will not take place or scenes from the life of Meyerhold -- Staging Hamlet as political no exit in Géza Bereményi's Halmi -- Nedyalko Yordanov's The murder of Gonzago: reading Bulgaria's communist political culture through Shakespeare's Hamlet -- Inserting god into politics. Specters of state power, history, and politics of the stage: Vlad Zografi's Peter or the sun spots -- Inserting god into the communist personality cult: Stefan Tsanev's The other death of Joan of Arc -- Conclusion Shakespeare, William / 1564-1616 / Adaptations / History and criticism Molière 1622-1673 (DE-588)11858331X gnd Shakespeare, William 1564-1616 (DE-588)118613723 gnd East European drama / 20th century / History and criticism Russian drama / Adaptations / History and criticism French drama / Adaptations / History and criticism English drama / Adaptations / History and criticism Communism and literature / Europe, Eastern Kommunismus (DE-588)4031892-8 gnd Politik (DE-588)4046514-7 gnd Postkommunismus (DE-588)4998161-4 gnd Drama (DE-588)4012899-4 gnd |
| subject_GND | (DE-588)11858331X (DE-588)118613723 (DE-588)4031892-8 (DE-588)4046514-7 (DE-588)4998161-4 (DE-588)4012899-4 (DE-588)4075739-0 |
| title | Subversive stages theater in pre- and post-communist Hungary, Romania, and Bulgaria |
| title_auth | Subversive stages theater in pre- and post-communist Hungary, Romania, and Bulgaria |
| title_exact_search | Subversive stages theater in pre- and post-communist Hungary, Romania, and Bulgaria |
| title_full | Subversive stages theater in pre- and post-communist Hungary, Romania, and Bulgaria Ileana Alexandra Orlich |
| title_fullStr | Subversive stages theater in pre- and post-communist Hungary, Romania, and Bulgaria Ileana Alexandra Orlich |
| title_full_unstemmed | Subversive stages theater in pre- and post-communist Hungary, Romania, and Bulgaria Ileana Alexandra Orlich |
| title_short | Subversive stages |
| title_sort | subversive stages theater in pre and post communist hungary romania and bulgaria |
| title_sub | theater in pre- and post-communist Hungary, Romania, and Bulgaria |
| topic | Shakespeare, William / 1564-1616 / Adaptations / History and criticism Molière 1622-1673 (DE-588)11858331X gnd Shakespeare, William 1564-1616 (DE-588)118613723 gnd East European drama / 20th century / History and criticism Russian drama / Adaptations / History and criticism French drama / Adaptations / History and criticism English drama / Adaptations / History and criticism Communism and literature / Europe, Eastern Kommunismus (DE-588)4031892-8 gnd Politik (DE-588)4046514-7 gnd Postkommunismus (DE-588)4998161-4 gnd Drama (DE-588)4012899-4 gnd |
| topic_facet | Shakespeare, William / 1564-1616 / Adaptations / History and criticism Molière 1622-1673 Shakespeare, William 1564-1616 East European drama / 20th century / History and criticism Russian drama / Adaptations / History and criticism French drama / Adaptations / History and criticism English drama / Adaptations / History and criticism Communism and literature / Europe, Eastern Kommunismus Politik Postkommunismus Drama Osteuropa |
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