000 03923nam a22005295i 4500
001 9781501706981
003 DE-B1597
005 20200803184517.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 170310s2016 nyu fo d z eng d
020 _a9781501706981
024 7 _a10.7591/9781501706981
_2doi
035 _a(DE-B1597)480117
035 _a(OCoLC)958421740
035 _a(OCoLC)961909846
035 _a(OCoLC)982174695
035 _a(OCoLC)999366955
040 _aDE-B1597
_beng
_cDE-B1597
_erda
041 0 _aeng
044 _anyu
_cUS-NY
050 4 _aPN3169
072 7 _aHIS032000
_2bisacsh
082 0 4 _a792.0222094709041
100 1 _aMally, Lynn.,
_eauthor.
245 1 0 _aRevolutionary Acts :
_bAmateur Theater and the Soviet State, 1917-1938 /
_cLynn Mally.
264 1 _aIthaca, N.Y. :
_bCornell University Press,
_c[2016]
264 4 _c©2000
300 _a1 online resource
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tPreface --
_tIntroduction --
_t1. The Revolution Loves the Theater --
_t2. Small Forms on Small Stages --
_t3. From "Club Plays" to the Classics --
_t4. TRAM: The Vanguard of Amateur Art --
_t5. Shock Workers on the Cultural Front --
_t6. Amateurs in the Spectacle State --
_tConclusion --
_tGlossary --
_tBibliography --
_tIndex
506 0 _aOpen Access
_uhttps://purl.org/coar/access_right/c_abf2
_funrestricted online access
_2star
520 _aDuring the Russian Revolution and Civil War, amateur theater groups sprang up in cities across the country. Workers, peasants, students, soldiers, and sailors provided entertainment ranging from improvisations to gymnastics and from propaganda sketches to the plays of Chekhov. In Revolutionary Acts, Lynn Mally reconstructs the history of the amateur stage in Soviet Russia from 1917 to the height of the Stalinist purges. Her book illustrates in fascinating detail how Soviet culture was transformed during the new regime's first two decades in power.Of all the arts, theater had a special appeal for mass audiences in Russia, and with the coming of the revolution it took on an important role in the dissemination of the new socialist culture. Mally's analysis of amateur theater as a space where performers, their audiences, and the political authorities came into contact enables her to explore whether this culture emerged spontaneously "from below" or was imposed by the revolutionary elite. She shows that by the late 1920s, Soviet leaders had come to distrust the initiatives of the lower classes, and the amateur theaters fell increasingly under the guidance of artistic professionals. Within a few years, state agencies intervened to homogenize repertoire and performance style, and with the institutionalization of Socialist Realist principles, only those works in a unified Soviet canon were presented.
538 _aMode of access: Internet via World Wide Web.
540 _aThis eBook is made available Open Access. Unless otherwise specified in the content, the work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives (CC BY-NC-ND) license:
_uhttps://creativecommons.org/licenses/by-nc-nd/3.0
_uhttps://www.degruyter.com/dg/page/open-access-policy
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed Feb. 24, 2017)
773 0 8 _iTitle is part of the collection:
_dDe Gruyter
_tRights, Action, and Social Responsibility
856 4 0 _uhttps://doi.org/10.7591/9781501706981
_zOpen Access
856 4 2 _3Cover
_uhttp://www.degruyter.com/doc/cover/9781501706981.jpg
912 _aGBV-deGruyter-alles
912 _aZDB-23-GOA
912 _adeGruyter-RASR Rights, Action, and Social Responsibility
999 _c534717
_d534715