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  • 1
    Online Resource
    Online Resource
    Ithaca ; London : Cornell University Press
    UID:
    b3kat_BV045450948
    Format: Online-Ressource
    Edition: First printing, Cornell Paperbacks
    ISBN: 9781501706981 , 1501706985
    Note: Erscheint als Open Access bei De Gruyter
    Additional Edition: Erscheint auch als ISBN 978-0-8014-3769-4
    Additional Edition: Erscheint auch als ISBN 978-1-5017-0720-9
    Language: English
    Keywords: Sowjetunion ; Laienspiel ; Geschichte 1917-1938
    URL: Volltext  (kostenfrei)
    URL: Volltext  (kostenfrei)
    Library Location Call Number Volume/Issue/Year Availability
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  • 2
    Online Resource
    Online Resource
    Ithaca, N.Y. : Cornell University Press
    UID:
    gbv_882893637
    Format: 1 online resource
    ISBN: 9781501706981
    Content: During 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.
    Note: Frontmatter -- -- Contents -- -- Preface -- -- Introduction -- -- 1. The Revolution Loves the Theater -- -- 2. Small Forms on Small Stages -- -- 3. From "Club Plays" to the Classics -- -- 4. TRAM: The Vanguard of Amateur Art -- -- 5. Shock Workers on the Cultural Front -- -- 6. Amateurs in the Spectacle State -- -- Conclusion -- -- Glossary -- -- Bibliography -- -- Index , Mode of access: Internet via World Wide Web. , In English
    Language: English
    URL: Cover
    URL: Cover
    URL: Cover
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  • 3
    Online Resource
    Online Resource
    Ithaca : Cornell University Press
    UID:
    gbv_1853335428
    Format: 1 Online-Ressource (272 p.)
    ISBN: 9781501706981 , 9780801437694 , 9781501706974 , 9781501707209
    Content: During 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
    Note: English
    Language: Undetermined
    Subjects: Slavic Studies , General works
    RVK:
    RVK:
    URL: Cover
    URL: Cover
    URL: Cover  (lizenzpflichtig)
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  • 4
    UID:
    gbv_1622759559
    Format: x, 250 Seiten , Illustrationen , 24 cm
    ISBN: 9781501707209 , 0801437695
    Note: Includes bibliographical references (p. [225]-241) and index
    Additional Edition: Erscheint auch als Online-Ausgabe Mally, Lynn, 1950 - Revolutionary acts Ithaca : Cornell University Press, 2016 ISBN 9781501706981
    Additional Edition: ISBN 1501706985
    Additional Edition: ISBN 9781501707209
    Additional Edition: ISBN 1501707205
    Language: English
    Subjects: Slavic Studies , General works
    RVK:
    RVK:
    Keywords: Sowjetunion ; Laienspiel ; Geschichte 1917-1938
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  • 5
    Online Resource
    Online Resource
    Cornell University Press | Ithaca :Cornell University Press,
    UID:
    almahu_9947382465902882
    Format: 1 online resource (263 pages)
    ISBN: 1-5017-0697-7 , 1-5017-0698-5
    Content: During 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.
    Note: Frontmatter -- , Contents -- , Preface -- , Introduction -- , 1. The Revolution Loves the Theater -- , 2. Small Forms on Small Stages -- , 3. From "Club Plays" to the Classics -- , 4. TRAM: The Vanguard of Amateur Art -- , 5. Shock Workers on the Cultural Front -- , 6. Amateurs in the Spectacle State -- , Conclusion -- , Glossary -- , Bibliography -- , Index , In English.
    Additional Edition: ISBN 0-8014-3769-5
    Additional Edition: ISBN 1-5017-0720-5
    Language: English
    Keywords: Electronic books.
    Library Location Call Number Volume/Issue/Year Availability
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