Pierrot in Petrograd : the Commedia dell'arte/Balagan in twentieth-century Russian theatre and drama / / J. Douglas Clayton

• Autore: Clayton J. Douglas
• Pubblicazione: Montréal ; ; Buffalo : , : McGill-Queen's University Press, , 1993; ©1993
• Descrizione fisica: 1 online resource (x, 369 pages, 8 unnumbered pages of plates) : illustrations
• Disciplina: 891.72/409
• Soggetto topico: Commedia dell'arte - History and criticism; Russian drama - 20th century - History and criticism
• Note generali: Bibliographic Level Mode of Issuance: Monograph
• Nota di bibliografia: Includes bibliographical references (p. [335]-348) and index.
• Nota di contenuto: Front Matter -- Contents -- Preface -- Prologue -- Who Was That Masked Man? -- Improvisation and Dissonance: Commedia dell’Arte and the Crisis in Theatre -- Pierrot Comes to Petersburg: 1903-17 -- Red Harlequins: The Balagan as Theatrical Genre 1917–22 -- Pierrot or Petrushka? Russian Harlequinades -- Russian Pirandellos: The Balagan as a Dramatic Genre -- Harlequin’s Shadow: The Film as Balagan -- The Empty Throne: Theatre as Metahistory -- Appendices -- The Beggar Harlequin -- Today’s Colombine: A Pantomime -- Fiametta’s Four Corpses -- The Lovers -- Harlequin the Card–Lover -- The Apes Are Coming! -- Notes -- Bibliography -- Index
• Sommario/riassunto: Douglas Clayton examines the tradition of commedia dell'arte as the Russian modernists inherited it, from its origins in Italian street theatre through its various transformations: in Italy (Gozzi and Goldini's plays); in France (the development of Pierrot and the restructuring of the plot); and in Germany (Tieck's and Hoffmann's metatheatre). He also analyses crucial texts by Gozzi, Lothar, Benavente, and Schnitzler that came to play a central role in the Russian theatre. Tracing the history of commedia dell'arte on the Russian stage, he demonstrates that the introduction of the tradition was theory-driven and discusses several milestone productions in the pre- and post-revolutionary period. Clayton examines the impact of commedia dell'arte, russified as the new theatrical genre of balagan, on both popular and lesser-known Russian playwrights, and, in conclusion, explores the significance of the commedia dell'arte as a theoretical underpinning for Sergei Eisenstein's theories of theatre and film.
• Altri titoli varianti: Commedia dell'arte/Balagan in twentieth-century Russian theatre and drama
• Titolo autorizzato: Pierrot in Petrograd
• ISBN: 1-282-85672-3; 9786612856723; 0-7735-6441-1
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Lingua di pubblicazione: Inglese
• Record Nr.: 9910781904103321
• Lo trovi qui: Univ. Federico II