Meyerhold's Castings of Actresses for Male Parts
نویسندگان
چکیده
In this article I examine Meyerhold's occasional castings of actresses for male parts in a small, but significant, number instances from his long career as stage director. Meyerhold cast woman part six times, five them tragedies. However, he did so intermittently and different purposes, to suit highly heterogenous contexts. Three cases have particularly interesting perspectives: 1915 production at the Alexandrinsky Theatre Saint Petersburg Calderon de la Barca's Spanish Baroque tragedy The Constant Prince; 1926 co-production Moscow Tretyakov's activist melodrama Roar, China!; 1931 Yury Olesha's contemporary A List Benefits. three are not connected – each its own way artistic reactions consecutive, dissimilar systems government, under which lived worked: Tsarist regime, formative first decade Soviet Union, finally Stalinism. On more basic personal level, they reflect habitual preference means expression reveal social mechanisms exploited by oppression or released against it. case, casting an actress poses maximum contrast oppressive system inquired into metonymy.
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ژورنال
عنوان ژورنال: Russian Literature
سال: 2023
ISSN: ['0304-3479', '1878-3678']
DOI: https://doi.org/10.1016/j.ruslit.2022.09.002