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The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)
Author(s) -
Pavel E. Fokin,
Ilya O. Boretsky
Publication year - 2020
Publication title -
dostoevskij i mirovaâ kulʹtura. filologičeskij žurnal
Language(s) - English
Resource type - Journals
eISSN - 2712-8512
pISSN - 2619-0311
DOI - 10.22455/2541-7894-2020-4-219-241
Subject(s) - russian literature , newspaper , interpretation (philosophy) , literature , st petersburg , state (computer science) , art history , subject (documents) , art , history , sociology , russian federation , philosophy , media studies , linguistics , computer science , algorithm , regional science , library science
The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

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