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Pierrot in Petrograd: the Commedia dell'arte/Balagan in twentieth-century Russian theatre and drama
J. Douglas Clayton
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Frontmatter
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Preface (page ix)
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Illustrations (page xi)
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Prologue (page 3)
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1. Who Was That Masked Man? (page 16)
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2. Improvisation and Dissonance: Commedia dell'Arte and the Crisis in Theatre (page 44)
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3. Pierrot Comes to Petersburg: 1903-17 (page 75)
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4. Red Harlequins: The Balagan as a Theatrical Genre (page 103)
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5. Pierrot or Petrushka? Russian Harlequinades (page 125)
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6. Russian Pirandellos: The Balagan as a Dramatic Genre (page 159)
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7. Harlequin's Shadow: The Film as Balagan (page 205)
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8. The Empty Throne: Theatre as Metahistory (page 229)
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Appendix A: The Beggar Harlequin (Elena Guro, page 239)
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Appendix B: Today's Columbine (Nikolai Evreinov, page 245)
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Appendix C: Fiametta's Four Corpses (page 250)
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Appendix D: The Lovers (Vsevolod Meyerhold, page 254)
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Appendix E: Harlequin the Card-Lover (Vladimir Solov'ev, page 257)
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Appendix F: The Apes Are Coming! (Lev Lunts, page 272)
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Notes (page 297)
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Bibliography (page 335)
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Index (page 349)
Journal Abbreviation | Label | URL |
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SEER | 73.2 (1995): 300-301 | http://www.jstor.org/stable/4211791 |
CSR | 36.3/4 (1994): 543-544 | http://www.jstor.org/stable/40869686 |
RR | 54.3 (1995): 458-459 | http://www.jstor.org/stable/131448 |
SR | 54.2 (1995): 437-438 | http://www.jstor.org/stable/2501637 |
Citable Link
Published: c1993
Publisher: McGill-Queen's University Press
- 9780773564411 (ebook)
- 9780773511361 (hardcover)