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The Drama Of Mixail Kuzmin.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Drama Of Mixail Kuzmin./
作者:	Cheron, George.
面頁冊數:	1 online resource (305 pages)
附註:	Source: Dissertations Abstracts International, Volume: 43-07, Section: A.
Contained By:	Dissertations Abstracts International43-07A.
標題:	Slavic literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8229660click for full text (PQDT)
ISBN:	9798204509511

The Drama Of Mixail Kuzmin.
Cheron, George.

The Drama Of Mixail Kuzmin. - 1 online resource (305 pages)

Source: Dissertations Abstracts International, Volume: 43-07, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 1982.

Includes bibliographical references

This study deals with the drama of the Russian poet Mixail Kuzmin (1872-1936) and its place within the general context of Russian theater during the twentieth century. Kuzmin's drama is examined in its pre-revolutionary phase as well as in its post-revolutionary phase. Kuzmin, in the pre-revolutionary years, advocated the concept that Russian drama should abandon its tendentious approach by adopting alternate dramatic techniques. By the employment of different forms, Kuzmin wished to transform Russian drama by de-emphasizing the functional quality of drama, and at the same time establish a variegated repertoire. Kuzmin advocated a return by the Russian theater to simpler dramatic forms. He perceived Russian theater in a state of rapid decline because of its overemphasis on the tendencious function of drama. Kuzmin reasoned that Russian theater could only overcome this nineteenth century outlook if it returned to the origins of Western European drama. Due to the official recalcitrance to change on the part of the established theater, Kuzmin was forced to experiment in many "miniature" theaters that had sprung up in St. Petersburg and Moscow during the 1910's. Kuzmin's plays were also put on by the theater-cabarets of the two cities. In these "theaters of small forms," Kuzmin's little dramas, comedies, playlets, ballets were staged with success. Kuzmin's insistent experiments led him to explore other possibilities for Russian drama. These experiments involved the writing of "stylized" plays based on the French pastoral play, on the Italian commedia dell'arte and on hagiographical writings. Kuzmin's stylizations differed in purpose from those of the Russian Symbolists, who had also sought theatrical reforms at this time. All of Kuzmin's stylized creations supported his tenet that drama should be lively, humorous and viable in contrast to nineteenth century inspired drama. In post-revolutionary Russia, Kuzmin turned to expressionism as offering a possible path for Russian drama to follow. During the 1920's Kuzmin introduced to several Leningrad theaters the works of the German expressionists. Certain expressionistic features can be detected in Kuzmin's later plays with their reverse-time sequences and constant interplay between time levels.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798204509511Subjects--Topical Terms:

2144740
Slavic literature.
Index Terms--Genre/Form:

542853
Electronic books.

The Drama Of Mixail Kuzmin.
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520 $a This study deals with the drama of the Russian poet Mixail Kuzmin (1872-1936) and its place within the general context of Russian theater during the twentieth century. Kuzmin's drama is examined in its pre-revolutionary phase as well as in its post-revolutionary phase. Kuzmin, in the pre-revolutionary years, advocated the concept that Russian drama should abandon its tendentious approach by adopting alternate dramatic techniques. By the employment of different forms, Kuzmin wished to transform Russian drama by de-emphasizing the functional quality of drama, and at the same time establish a variegated repertoire. Kuzmin advocated a return by the Russian theater to simpler dramatic forms. He perceived Russian theater in a state of rapid decline because of its overemphasis on the tendencious function of drama. Kuzmin reasoned that Russian theater could only overcome this nineteenth century outlook if it returned to the origins of Western European drama. Due to the official recalcitrance to change on the part of the established theater, Kuzmin was forced to experiment in many "miniature" theaters that had sprung up in St. Petersburg and Moscow during the 1910's. Kuzmin's plays were also put on by the theater-cabarets of the two cities. In these "theaters of small forms," Kuzmin's little dramas, comedies, playlets, ballets were staged with success. Kuzmin's insistent experiments led him to explore other possibilities for Russian drama. These experiments involved the writing of "stylized" plays based on the French pastoral play, on the Italian commedia dell'arte and on hagiographical writings. Kuzmin's stylizations differed in purpose from those of the Russian Symbolists, who had also sought theatrical reforms at this time. All of Kuzmin's stylized creations supported his tenet that drama should be lively, humorous and viable in contrast to nineteenth century inspired drama. In post-revolutionary Russia, Kuzmin turned to expressionism as offering a possible path for Russian drama to follow. During the 1920's Kuzmin introduced to several Leningrad theaters the works of the German expressionists. Certain expressionistic features can be detected in Kuzmin's later plays with their reverse-time sequences and constant interplay between time levels.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
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773 0 $t Dissertations Abstracts International $g 43-07A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8229660 $z click for full text (PQDT)