In lieu of an abstract, here is a brief excerpt of the content:

Notes 255 Introduction 1. The meeting with Trepov is described in Vladimir NemirovitchDantchenko , My Life in the Russian Theatre, trans. John Cournos (New York, 1968), 181–82. Here Nemirovich remarks that the meeting was on the eve of the premiere of Chekhov’s Seagull (18 December 1898); actually, it was on 16 January 1899. See L. M. Freidkina, Dni i gody Vl. I. Nemirovicha-Danchenko. Letopis’ zhizni i tvorchestva (Moscow, 1962), 152–53. 2. K. S. Stanislavskii, Stat’i. Rechi. Besedy. Pis’ma (Moscow, 1953), 101;Vl. I. Nemirovich-Danchenko, Stat’i. Rechi. Besedy. Pis’ma (Moscow, 1952), 63. 3. See, for example, John Russell Stephens, The Censorship of English Drama, 1824–1901 (Cambridge, 1980). 4. Aleksandr Kugel’, lead article, Teatr i iskusstvo, no. 2 (13 January 1908): 25. 5. Jeffrey Brooks, When Russia Learned To Read: Literacy and Popular Culture, 1861–1917 (Princeton, 1985), 319. 6. Lars Kleberg,“‘People’s Theater’ and the Revolution: On the History of a Concept Before and After 1917,” in Art Society, Revolution: Russia, 1917–1921, ed. N. A. Nilsson, Stockholm Studies in Russian Literature, no. 11 (Stockholm, 1979), 179–97; Robert Russell, “People’s Theater and the October Revolution,” Irish Slavonic Studies, no. 7 (1986): 65–84. Kleberg’s focus on the theories of well-known intellectuals leads him to claim that “the first man in Russia to speak of ‘the people’s theater’ was the playwright Aleksandr Ostrovskij,” in 1882, and that “the breakthrough of the concept of the people’s theater in Russia, which occurred in the years after 1905, had less to do with the rapid spread of the existing popular stages than with Symbolism and the intelligentsia ’s self-criticism after the abortive revolution” (180–81). In fact, the concept of the people’s theater had been discussed in the press since the emancipation of the serfs in 1861, and many had been established before 1905. 7. Romain Rolland, Le théâtre du peuple (Paris, 1903); David James Fisher, “Romain Rolland and the French People’s Theatre,” The Drama Review (March 1977): 75–90; idem, Romain Rolland and the Politics of Cultural Engagement (Berkeley, 1988); Viacheslav Ivanov, Po zvezdam (St. Petersburg, 1909); Bernice Glatzer Rosenthal,“Theatre as Church:The Vision of the Mystical Anarchists,” Russian History/Histoire russe 4, no. 2 (1977): 122–41. 8. James von Geldern, Bolshevik Festivals, 1917–1920 (Berkeley, 1993). 9. Michel Foucault, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan (New York, 1977). On the applicability of Foucault’s concepts to Russia, see Laura Engelstein,“Combined Underdevelopment: Discipline and the Law in Imperial and Soviet Russia,” American Historical Review 98, no. 2 (1993): 338–53. 10. Tony Bennett, The Birth of the Museum: History, Theory, Politics (London, 1995). 11. Brooks, When Russia Learned To Read. 12. Ben Eklof, Russian Peasant Schools: Officialdom, Village Culture, and Popular Pedagogy, 1861–1914 (Berkeley, 1986), 482. 13. Gary Thurston, “The Impact of Russian Popular Theatre, 1886–1915,” Journal of Modern History 55 (June 1983): 267; idem, “Theatre and Acculturation in Russia from Peasant Emancipation to the First World War,” Journal of Popular Culture 18, no. 2 (Fall 1984): 3–16. 14. Gary Thurston, The Popular Theatre Movement in Russia, 1862–1919 (Evanston, 1998), 288–89. 15. My understanding of discourse is of course derived from the work of Michel Foucault, especially his Discipline and Punish and The History of Sexuality, vol. 1, An Introduction, trans. Robert Hurley (New York, 1978). 16. John Fiske, Reading the Popular (Boston, 1989), 3. 17. Peter Bailey, Leisure and Class in Victorian Britain: Rational Recreations and the Contest for Control, 1830–1885 (London, 1978). Chapter One 1. Vladimir Propp, Russkie agrarnye prazdniki (Leningrad, 1963); Elizabeth A. Warner, The Russian Folk Theatre (The Hague, 1977), 1–38, 43–66. 2. Russell Zguta, Russian Minstrels: A History of the Skomorokhi (Philadelphia, 1978). 3. Ibid., 13, 47–48, 50–63. 4. The best-known example of Russian ecclesiastical drama is the “furnace show” (peshchnoe deistvo), introduced in the early sixteenth century, which recounted the story from the Book of Daniel of the three Israelite youths who were cast into a fiery furnace as punishment for refusing to worship pagan idols. Echoes of this theme can perhaps be found in the oral folk drama Tsar Maximilian, which appeared in the late eighteenth century and continued to be performed well into the Soviet period. In it the tsar’s son,Adolf, is punished and eventually executed for his unwillingness to worship pagan gods. Simon Karlinsky...


Additional Information

Related ISBN
MARC Record
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.