The statement of fabulously romantic trends in the Soviet performances by fiaba Gozzi (1930−1940s)
Abstract
The article examines the experience of the existence of the works of the Italian playwright Carlo Gozzi on the Soviet stage of the 1930s and 1940s, when the theater was under strict censorship and under ideological control. Despite attempts at government restrictions, Gozzi still penetrated the Soviet scene, most often in newly emerging theaters. It was then that the version of the stage interpretation of the fiab was established, as fairy tales for children. This way of existence of the Venetian’s works, which began during a time of many restrictions, quickly gained a clear vector of extravaganza, conviviality, and musicality. Oriented towards a children’s audience, the experience of theatrical productions based on fiabs is rooted in the tradition of the Soviet stage. It also manifests itself in modern domestic performances based on Gozzi’s plays, although it has ceased to be a universal stage key to their poetics. The article examines this trend using the example of three performances: “The Green Bird” by B. V. Zona (Leningrad Youth Theater, 1935), “The Deer King” by S. V Obraztsov and V. A. Gromov (GATSTK, 1943) and “The Raven” by P. K. Weisbrem (Leningrad Youth Theater, 1946).
About the Author
A. N. Mishurinskaya
Russian State Institute of Performing Arts
Russian Federation
Russian Federation
Mishurinskaya A. N. — Postgraduate Student
33−35, Mokhovaya St., St. Petersburg, 191028
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Review
For citations:
Mishurinskaya A.N. The statement of fabulously romantic trends in the Soviet performances by fiaba Gozzi (1930−1940s). Bulletin of Vaganova Ballet Academy. 2024;(1):99-109. (In Russ.)
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