| Papers [1-3] of 3 | Search results on "VSEVOLOD MEYERHOLD": |
|
|
|
Vsevolod Meyerhold, 1999.
Discusses the life, career, theories and politics of this early 20th Century Russian theatrical innovator.
1,800 words (approx. 7.2 pages), 12 sources, $ 103.95
»
Click here to show/hide summary
From the Paper
"The purpose of this research is to examine the life and work of Vsevolod Meyerhold. The plan of the research will be to set forth a general outline of Meyerhold's position as a master of twentieth-century Russian theatre, and then to discuss the milestones of his creative path, with a view toward clarifying why one acknowledged as a refined aesthete and sophisticated artist should have accepted and indeed glorified the Bolshevik Revolution.
The role of V.E. Meyerhold in helping to refine modern stage theory and praxis is widely acknowledged. Indeed, from the earliest phases of his career, Meyerhold appears to have been a self-conscious innovator whose theory of the stage encompassed dramatic forms and dramaturgy responsive to and metaphorically representative of dimensions of reality that could compress the ..."
| |
|
Russian Culture in the New Era, 2002.
Describes the ideas of four of Russia's prominent thinkers around the time of the 1917 Bolshevik Revolution: Blok; Lunacharsky; Gershenzon; and Ivanov.
2,100 words (approx. 8.4 pages), 4 sources, MLA, $ 65.95
»
Click here to show/hide summary
Abstract
This paper discusses the works of four Russian thinkers and shows how their ideas helped to shape the emerging culture and its art. The works examined are "The Intelligentsia and the Revolution" by Aleksandr Aleksandrovich Blok, "The Collapse of Humanism" also by Blok, "Theses of the Art Section of Narkompros and the Central Committee of the Union of Art Workers Concerning Basic Policy in the Field of Art" by Lunacharsky, "Revolution and Art" also by Lunacharsky, and "Correspondence Across A Room" by Vsevolod Ivanov and Mikhail Osipovich Gershenzon.
From the Paper
"In what is perhaps a more in-depth look at the changing values of the revolutionary culture, Ivanov and Gershenzon exchange a series of letters on the subject in Correspondence Across A Room, which is a compilation of their exchanges. Unlike Blok and Lunacharsky, these thinkers are less interested in designating the roles of various groups in the new culture, although they explore similar terrain. Each argues for a sort of "cultural renewal", in the sense that they argue for the continued vitality of the culture, but, excepting Lunacharsky, each of the aforementioned thinkers argues for this. What distinguishes Gershenzon's thinking, however, is that he makes a specific argument for cultural renewal, whereas Ivanov sees the continued vitality of the culture as being "preserved" through cultural memory."
| |
|
Stanislavsky, 2002.
Explores how Russian history influenced the theories of Constantin Stanislavsky and Russian theater in general.
1,754 words (approx. 7.0 pages), 10 sources, MLA, $ 56.95
»
Click here to show/hide summary
Abstract
Constantin Stanislavsky is the father of modern acting theory. His theories which he extols in his four books, "My Life in Art" (1924), "An Actor Prepares" (1936), "Building a Character" (1941) and "Creating a Role" (1961) have had an unparalleled effect on actors and acting instructors throughout the world. Acting theorists such as Vsevelod Meyerhold, Uta Hagen and Bertold Brecht have all taken his theories into account while developing their own. Indeed, entire movements in world drama have been in part inspired by the work of Stanislavsky.
This paper focuses on Stanislavsky's influence on Russia. During his life and his career, Russia went through many changes. Two major events in Russian history would determine the fate of theatre and as a result Stanislavsky. The first was the failed revolution in 1905, or ?The Great Rehearsal,? as Lenin called it. The second major event which affected Stanislavsky (which in turn affected Russian theater) was the 1917 revolution.
From the Paper
"Konstantin Stanislavsky developed the Moscow Art Theatre in 1898. The creation of this particular theatre was important in that it differed from many of the other theatres of the time. It was a fully professional theatre organization and it emphasized new plays as opposed to older work. Stanislavsky believed that new plays would bring the theatre to life. His theatrical philosophy was that the actor was an educator and that plays were tools of education. As a result the initial work produced at the theatre was not successful. It wasn?t until Stanislavsky partnered with a young playwright named Anton Chekhov that the theatre attained any commercial success."
|
|
|
If you can't find your topic here, try another search
or try our affordable, unique custom paper alternative
Custom Research Services include:
- Papers written from scratch, according to your specifications.
Every paper is UNIQUE - Guaranteed
- Professional, top-notch writers
- All topics covered
- Any deadline
- Your satisfaction guaranteed
Place a Custom Research order now
Find out more about Custom Research
|
|
|
