Titlebook: Russian Theatre In The Age Of Modernism; Robert Russell (Senior Lecturer in Russian),Andrew Book 1990 Palgrave Macmillan, a division of Ma

缓和

MILK

起波澜

旅行路线

,Mortal Masks: Yevreinov’s Drama in Two Acts,diosyncratic as Nikolay Yevreinov. While not a Symbolist, Yevreinov combined the movement’s pre-revolu-tionary tendencies toward Godseeking and life-building into a fully performative ‘theatre-in-life’ philosophy. In the years of ‘derealised reality’ (.. 1905–17), Yevreinov the extreme subjectivist

压倒

INERT

German Expressionism and Early Soviet Drama,action. That is the period approximately from 1910 to 1925, coinciding with the emergence and development of literary Expressionism. It is to the Russian aspect of that interaction that the present essay is devoted.

sterilization

neurologist

Mikhail Bulgakov: the Status of the Dramatist and the Status of the Text,he dramatist’s lifetime and spread, geographically and historically. This creates the cultural context in which each subsequent major production utters its own ‘new word’ for its own place and time. History has robbed Mikhail Bulgakov’s plays of this theatrical authority.

薄荷醇

假装是我

lations on one hand and deep hierarchies in large-scale computing platforms on the other make it exceedingly harder to map the former onto the latter and fully exploit the available computational power. The complexity of the software and hardware components involved calls for in-depth expertise that