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   Book Info

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Sergei Radlov: The Shakespearian Fate of a Soviet Director  
Author: David Zolotnitsky
ISBN: 371865587X
Format: Handover
Publish Date: June, 2005
 
     
     
   Book Review

Book Description
Sergei Radlov started as one of the left-wing directors among the disciples and companions-in-arms of Vsevolod Meyerhold in post-revolutionary years. With Radlov, both the Academic Drama Theatre and the Opera and Ballet House were reinvigorated. In the former he directed Jack London, Ernst Toller, Evgeni Zamyatin, and updated Aristophanes. In the latter he did "modern" operas, such as The Love for Three Oranges by Sergei Prokofiev, Der ferne Klang by Franz Schrecker, Woyzeck by Alban Berg, Der Rosenkavalier by Richard Strauss, and Mussorgsky's Boris Godunov in its authorized version.
Most of all, Radlov cherished the studio theatre he had created himself which he considered his life's work and was madly protective of it. To save it, he refused to leave Piatigorsk with his first group of actors and found himself a German prisoner with the rest of the company. This event cast a shadow over the last years of his life.
In this meticulously researched book, David

Language Notes
Text: English (translation)
Original Language: Russian




Sergei Radlov: The Shakespearian Fate of a Soviet Director

FROM THE PUBLISHER

Sergei Radlov started as one of the left-wing directors among the disciples and companions-in-arms of Vsevolod Meyerhold in post-revolutionary years. With Radlov, both the Academic Drama Theatre and the Opera and Ballet House were reinvigorated. In the former he directed Jack London, Ernst Toller, Evgeni Zamyatin, and updated Aristophanes. In the latter he did "modern" operas, such as The Love for Three Oranges by Sergei Prokofiev, Der ferne Klang by Franz Schrecker, Woyzeck by Alban Berg, Der Rosenkavalier by Richard Strauss, and Mussorgsky's Boris Godunov in its authorized version.
Most of all, Radlov cherished the studio theatre he had created himself which he considered his life's work and was madly protective of it. To save it, he refused to leave Piatigorsk with his first group of actors and found himself a German prisoner with the rest of the company. This event cast a shadow over the last years of his life.
In this meticulously researched book, David

     



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