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Russian Performances: Word, Object, Action

Editat de Julie Buckler, Julie Cassiday, Boris Wolfson
en Limba Engleză Hardback – 17 sep 2018
Throughout its modern history, Russia has seen a succession of highly performative social acts that play out prominently in the public sphere. This innovative volume brings the fields of performance studies and Russian studies into dialog for the first time and shows that performance is a vital means for understanding Russia's culture from the reign of Peter the Great to the era of Putin. These twenty-seven essays encompass a diverse range of topics, from dance and classical music to live poetry and from viral video to public jubilees and political protest. As a whole they comprise an integrated, compelling intervention in Russian studies.

Challenging the primacy of the written word in this field, the volume fosters a larger intellectual community informed by theories and practices of performance from anthropology, art history, dance studies, film studies, cultural and social history, literary studies, musicology, political science, theater studies, and sociology.
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Specificații

ISBN-13: 9780299318307
ISBN-10: 0299318303
Pagini: 360
Ilustrații: 25 b-w illus.
Dimensiuni: 152 x 229 x 25 mm
Greutate: 0.54 kg
Editura: University of Wisconsin Press
Colecția University of Wisconsin Press

Recenzii

"A milestone in Russian studies. Offers rich, diverse insights into the performative dimension of Russian society through the centuries, demonstrating that artistic forms and social formations not only mean something but do something." —Andreas Schönle, Queen Mary University of London

"This important collection restores Russian thought, theater, and dance to the disciplinary conversation about performance. The result is revelatory: a new form of performance studies emerges, one more philosophical, theatrical, and literary than what we have known. A welcome addition to a changing field." —Martin Puchner, author of The Drama of Ideas

Notă biografică

Julie Buckler is the Samuel Hazzard Cross Professor of Slavic Languages and Literatures and Comparative Literature at Harvard University. She is the author of the award-winning books Mapping St. Petersburg and The Literary Lorgnette. Julie Cassiday is a professor of Russian at Williams College and the author of The Enemy on Trial. Boris Wolfson is an associate professor of Russian at Amherst College and the author of Self and Theater in Stalin's Russia.

Cuprins

List of Illustrations                
Preface                       
Foreword: Performing Russia            
            W. B. Worthen
 
Introduction: Thinking through Performance in Russian Culture                 
            Julie A. Buckler, Julie A. Cassiday, and Boris Wolfson
 
Predstavlenie: Representation and Cultural Imagination
Aleksei Venetsianov and the Theatricality of Russian Painting                    
            Molly Brunson
Performing Obligation                       
            John Randolph
The Album as Performance: Notes on the Limits of the Visible                   
            Oksana Sarkisova and Olga Shevchenko
Performative Objects: How Things Do Things Without Words                    
            Serguei Alex. Oushakine
Performing Russian Success? The 1770 Exhibition at the Imperial Academy of Arts         
            Rosalind P. Blakesley
The Silver Wreath: Jubilees in Russian Public Life, 1880–1920s                  
            Anna Muza
Pencil Marks on a Field: Form and Support in Late-Soviet Participatory Performance by the Collective Actions Group           
            Yelena Kalinsky
Dancing the National Idea: Reception and Appropriation of Lezginka in Russia                 
            Tatiana Smorodinska
Neo-Judaic Performance and “Russian” Identity in the Jewish Autonomous Region          
            S. I. Salamensky
 
Vystuplenie: Performers and Interventions
“Live Poetry”: Doubled Performances on OpenSpace                      
            Stephanie Sandler
From Text to Act: Chaikovskii’s Songs as Embodied Emotion                    
            Philip Ross Bullock
Playing the Public: Karamzin, Rostopchin, S. Glinka, 1802–1808               
            Bella Grigoryan
Borders Unpatrolled: Imaginary Geographies and the Spaces of Performance in Russian Viral Video                   
            Eliot Borenstein
Vystuplenie i nakazanie: Performing Political Protest in Putin’s Russia (Voina, Pussy Riot, Pavlensky)                 
            Lilya Kaganovsky
Architectonic Supersagas: Tatlin Stages Khlebnikov’s “Zangezi”                
            Michael Kunichika
Arousing Patriotism: Anna Chapman and the Curious Case of the Sexy Spy                      
            Julie Hemment
The Performative According to Prigov                      
            Mark Lipovetsky and Ilya Kukulin
Performing Commodities: The Fabergé Imperial Eggs                      
            Julie A. Buckler
 
Ispolnenie: Action and Agency
How Brezhnev-Era Animated Films Queered Stagnation                
            Anna Fishzon
Voice as a Performative Phenomenon in Early Soviet Sound Films             
            Oksana Bulgakowa
Performative Evolution of a Dance: The Case of The Dying Swan              
            Daria Khitrova
The Actor’s Task as a Philosophical Quest in the Russian 1920s: Two Test Cases               
            Caryl Emerson
Text and Anti-Text: Dividing the Labors of Performance                
            Alaina Lemon
The Object as Prosthesis and Performer in Russian New Drama                  
            Susanna Weygandt
Performing Family Unity: Holiday Celebrations in the Labor Camp Correspondence of Arsenii Formakov                       
            Emily D. Johnson
The Performative Stakes of the Tchaikovsky Piano Competition                 
            Boris Wolfson
Glamazons en travesti: Drag Queens in Putin’s Russia                     
            Julie A. Cassiday
 
Bibliography              
List of Contributors               
Index

Descriere

This innovative volume brings the fields of performance studies and Russian studies into dialog for the first time. It shows that performance is a vital means for understanding Russia's culture from the era of Peter the Great to the present.