In Search of Russian Modernism

Livak, Leonid

doi:10.1353/book.62035

Cited by 9 publications

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“…The post-Soviet documentary deluge and the collapse of the ideological coordinates hitherto guiding the writing of cultural history unleashed a Copernican revolution in the study of Russian modernism . That revolution is not over"(Livak 2018, 1-2) .2 Major landmarks in research on the Soviet musical avant-garde includeGojowy (1980),Schwarz (1983),Sitsky (1994),Hakobian (1998),Nelson (2004),Barsova (2007-a collection of articles going back to the 1980s),Redepenning (2008),Mende (2009), Frolova-Walker and Walker (2012), and Zuk and Frolova-Walker (2017 .…”

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Machines, Films, and Operas: A (Mostly) Soviet Perspective

Castro¹

2022

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In this article I explore some of the ways in which opera was affected by the dynamics of rupture and experimentation in the Soviet Union in the 1920s and early 1930s. In particular, I examine the criticism of opera as a genre among composers and theatrical practitioners, such as Nikolay Foregger, who advocated a fusion of opera and ballet inspired by the rhythms, movements, and sounds of modernity, and Adrian Piotrovsky, who argued for the transfer of cinematic devices to other art forms, including opera. The article further explores some intersections with the Futurist and Constructivist cult of the machine as reflected in the operatic experiments of Vladimir Deshevov and Aleksandr Mosolov, which were almost immediately suppressed by the rise of a more populist aesthetics and remain largely unknown.

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confidence: 99%