By the close of the nineteenth century, the performing arts had not only taken firm root across the vast expanse of the Russian empire, but also become one of the country’s most notable exports. Operatic bass Fedor Shaliapin, ballerina Anna Pavlova, choreographer Sergei Diagilev and actor-director Konstantin Stanislavskii all toured outside Russia in the early twentieth century, securing personal fame and establishing their country’s pre-eminence in the performing arts. Among these cultural e..
The impact of the theatrical reform of 1882 on the Financial Situation of the Imperial drama theater...
The Rite of Spring was a new kind of ballet, and it took a new kind of company to produce it. What e...
Vera Fedorovna Kommissarzhevskaia (1864-1910) is acknowledged as one of the finest actresses in the ...
The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States ...
This chapter explores the tension between national and international operatic repertories in the cas...
As Russia’s nineteenth-century Gypsy craze swept through Moscow and St. Petersburg, Gypsy musicians ...
Nineteenth-century Russian music has often been considered something ‘special’. This is a conviction...
American culture of the twentieth century benefited enormously from emigration from Russia and the U...
International audienceThe temptation to emigrate among russian artistic circles 1919-1939The questio...
This thesis analyses the formal qualities of the nineteenth-century Russian opera libretto and its s...
Le chapitre présente les tournées du Théâtre d'Art de Moscou en Europe et aux Etats-Unis dans les an...
Le chapitre présente les tournées du Théâtre d'Art de Moscou en Europe et aux Etats-Unis dans les an...
In the cinema of late Imperial Russia the female performer is a ubiquitous figure. This is a study ...
In the first decades of the 18th century, Italian theatre and its artists became vital to the Russia...
This article investigates the attempt by Russian theatre people to 'professionalize' their vocation ...
The impact of the theatrical reform of 1882 on the Financial Situation of the Imperial drama theater...
The Rite of Spring was a new kind of ballet, and it took a new kind of company to produce it. What e...
Vera Fedorovna Kommissarzhevskaia (1864-1910) is acknowledged as one of the finest actresses in the ...
The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States ...
This chapter explores the tension between national and international operatic repertories in the cas...
As Russia’s nineteenth-century Gypsy craze swept through Moscow and St. Petersburg, Gypsy musicians ...
Nineteenth-century Russian music has often been considered something ‘special’. This is a conviction...
American culture of the twentieth century benefited enormously from emigration from Russia and the U...
International audienceThe temptation to emigrate among russian artistic circles 1919-1939The questio...
This thesis analyses the formal qualities of the nineteenth-century Russian opera libretto and its s...
Le chapitre présente les tournées du Théâtre d'Art de Moscou en Europe et aux Etats-Unis dans les an...
Le chapitre présente les tournées du Théâtre d'Art de Moscou en Europe et aux Etats-Unis dans les an...
In the cinema of late Imperial Russia the female performer is a ubiquitous figure. This is a study ...
In the first decades of the 18th century, Italian theatre and its artists became vital to the Russia...
This article investigates the attempt by Russian theatre people to 'professionalize' their vocation ...
The impact of the theatrical reform of 1882 on the Financial Situation of the Imperial drama theater...
The Rite of Spring was a new kind of ballet, and it took a new kind of company to produce it. What e...
Vera Fedorovna Kommissarzhevskaia (1864-1910) is acknowledged as one of the finest actresses in the ...