Kritika. Dramaturgiia. Teatr. Iz dokladov, predstavlennykh na I-IV Chteniiakh molodykh uchenykh pamiati L. Ia. Livshitsa by E. A. Andrushchenko (review)
2001; Maney Publishing; Volume: 79; Issue: 3 Linguagem: Inglês
10.1353/see.2001.0077
ISSN2222-4327
Autores Tópico(s)Military, Security, and Education Studies
Resumo508 SEER, 79, 3, 200I Andrushchenko,E. A. (ed.). Kritika. Dramaturgiia. Teatr. Iz dokladov, predstavlennykhna I-IV Chteniiakh molodykh uchenykh pamiatiL. Ia. Livshitsa. Sbornik nauchnykhstatei.Viktoriia,Kharkov, I999. I50 pp. Priceunknown. THIS slim volume consists of fifteen short essays, three of which are in Ukrainian, and is divided into three sections Criticism, Dramaturgy, Theatre all dedicated to the memory of the literary and theatrical critic, Lev Iakovlevich Livshits (I920-I965). Rendered a permanent invalid as a resultof war service, Livshitswas rewardedwith a ten-yearprison sentence in 1950, rescindedin 1954, and spent the last ten yearsof his life teaching at the Universityof Kharkov.Here he establisheda reputationboth as a literaryand theatre critic, and achieved special distinction for his work on Babel' and Saltykov-Shchedrin. This collection is a heterogeneous one and, whilst it does contain an essay on Babel',it has nothing on Saltykov-Shchedrin.Rather,it runsa gamut from Iurii Lotman, Kornei Chukovskii, Andrei Bitov, Nikolai Grech and the Ukrainian theatre critic, Gnat Khotevich, to essays on the function of stage directions in contemporary drama, the influence of Schiller on the historical dramas of A. K. Tolstoi, the 'chuzhoe slovo' in losif Brodksii'splay Mramor, Vladimir Dal"s apparent obsession with Griboedov's Goreot uma,the early dramatic experiments of V. A. Zhukovskii,recent productions of Chekhov's Chaika, and problems of the actor's 'presence'as defined in the workof Gilles Deleuze. The volume is rounded off by two essays, in Ukrainian, on M. F. Sumtsovand Romain Rolland's People'sTheatre. The essay on Lotman considersthe morphology of the poetic text from the standpoint of semiotic theory in a style of limpid clarity which defines the verbal elements of a work as containing its 'genetic code' and supports its analysis with reference to works by Blok, Mandel'shtam, Tsvetaeva and Akhmatova. The essay on Chukovskiiconsiders him as a literaryportraitist with a giftforsynoptic 'caricature'(withoutderogatoryimplications)and cites his laconic and epitomizing characterizations of a whole range of Russian writersand artistsfrom Repin, Merezhkovskiiand Gippiusto Blok,Andreev, Tynianov and Maiakovskii. The piece on Bitov points to the significanceof 'metatekstual'nyidialog' in Pushkinskii dom,to its intertextualrelationshipwith Geroi nashego vremeni, and to parallels between Odoevtsev and Pechorin, Faina and Vera, Albina and PrincessMary. In her examination of the artisticworld of Babel"sKonarmiia, E. M. Sventsitskaiapointsto the self-conscioussenseof dramaand theatricality in many of the stories, in which the overall theme is seen to be 'the creative masteryof death and destruction,as a resultof which these become part of a total artisticunity'(pp. 45-46). The essay on Nikolai Grech homes in on his novel Chernaia zhenshchina and, whilst concluding that Grech does not belong to the highest ranks of nineteenth-centuryRussianwritersand acknowledgingthevalidityof Chernyshevskii 'sratherironic view of the novel, seeksto recuperatethe reputationof his contemporary, 0. I. Senkovskii,as a literarycritic of the firstorder. The essay on Schiller and A. K. Tolstoi is a reminder of how influentiala figure Schillerwas in nineteenth-centuryRussia andjust how widely he was read, as REVIEWS 509 is made clear by the number of times his work was re-issued in translation. The dramaswhich seem to have had the most powerful influence on Tolstoi are the two Wallenstein plays and ThePiccolomini. If the 'chuzhoe slovo' in Brodskii'splay, Mramor, is seen to be self-distorting and self-parodyingin the spiritof absurdisttheatre,V. I. Dal' appearsto have been haunted throughout his life by the words and phrases of Goreot uma, which are shown constantly to resurface in his fiction, in his collections of proverbsand in his four-volumedictionaryof the 'LivingRussian Language', published during the i86os. Zhukovskii's interest in eighteenth-century sentimental drama, Kotzebue, and Frenchneo-classicial drama (a good deal of which he translated)is shown to have influenced his own practice between I805 and I8ii, whilst his translation of Schiller's TheMaid of Orleans, it is suggested,paved the way forthe dramaticachievementsof Pushkin. The contributionon recent productions of Chekhov arguesthat the lyrical traditionof Soviet Chekhovhasbeen replacedby a postmodern,experimental approach in venues as disparate as Vologda, Riga and Magnitogorsk and with, on the face of it, extremely interesting results as these affect radically innovative re-interpretations,of Chaika in particular.Lastly, one of the most taxing, as well as...
Referência(s)