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by: Aaron Kohler
Aaron Kohler
GPA 3.51


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Class Notes
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This 2 page Class Notes was uploaded by Aaron Kohler on Sunday October 11, 2015. The Class Notes belongs to CIS 495 at Davidson College taught by Staff in Fall. Since its upload, it has received 15 views. For similar materials see /class/221248/cis-495-davidson-college in Ctr Interdisciplinary Studies at Davidson College.

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Date Created: 10/11/15
Sarah Robinson Outline Tchaikovsky s Operas and Cultural Policy CIS 495 December 10 2005 I Chapter 1 Introduction and Imperial Background A Working thesis I claim that while changes were made to Tchaikovsky s operas peoples responses to them ultimately caused the government to change their line on classical music because the people refused to stop supporting it In turn the government in uenced classical operas by forcing directors to adjust their meaning and in some cases change the opera signi cantly whether through music staging or libretto B Why is it important 1 In uence of Soviet politics on culture and the unique importance of opera in Russia 2 Integrity of Tchaikovsky s operas 3 Artistic freedom vs Soviet policyiwhen is it what C Scholarly review D Imperial background 1 Tchaikovsky s politics 2 Tchaikovsky s operas a Reception of originals specifically Voyevoda Eugene Onegz39n M azepa The Enchantress and Queen of Spades b The Russian question 3 The operas after his death the Silver Age s interpretation of operas II Chapter 2 Early Soviet Cultural Policy and Stanislavsky s Eugene Onegin A Scholarly review B Revolutionary theater and music 1 The Belyaev circle and RimskyKorsakov 2 The Moscow Art Theater C Lunacharsky and early Bolshevik culture 1 The call for a revolutionary repertoire by the left destruction of Imperial culture a Lenin s views b Lunacharsky s views 2 The constraints of the Civil War inability to create revolutionary repertoire 3 Cultural education of the public Boris Asaf ev and introduction of opera into the masses D Stanislavsky s Eugene Onegin l Stanislavsky s Opera Studio 2 Stanislavsky s method applied to opera 3 Changes made to Eugene Onegz39n what do these show a Set lighting and costumes b Staging c Deletion of peasant scene 4 Mel ttser s memoirs demonstrating Stanislavsky s reasoning 5 Reception of opera by Soviet musicologists and Lunacharsky 111 Chapter 3 The 1929 Cultural Revolution Meyerhold s Queen of Spades and Socialist Realism A Scholarly review B RAPM l 1923 views of opera repertoire 2 1929 Cultural Revolution Tchaikovsky s operas falling out of favor 3 1932 dissolution of RAPM Classical music coming back into favor C 1936 and socialist realism l Socialist realism decree of 1932 Shostakovich s LadyMacbeth of M tsensk 2 The Malyi s tour to Moscow in January a Dzerzhinsky s Quiet on the Don b Meyerhold s Queen of Spades 0 Outcome of tour 3 Change to Tchaikovsky s music as realist a Meyerhold s production as example b How this led to misinterpretation of work D Meyerhold s Queen of Spades l Meyerhold as a director 2 Why he reworked the opera 3 Changes to the original a The time b Intermezzo c The Countess 4 Reactions to production a Pushkin induced as result of centennial of his death b AntiTchaikovsky induced IV Chapter 4 Tchaikovsky s centennial World War II and the zhdanovshchina A Scholarly review B The centennial mechanisms of change in perception of Tchaikovsky and his music 1 Why government wanted to have Tchaikovsky as Soviet symbol 2 Perception of Tchaikovsky a Focus on Soviettype aspects of his character b Removal of monarchist and homosexual themes in his letters how scholarship changed 0 Tchaikovsky as zenith of Russian culture 3 Tchaikovsky s music as Russian and thereby Soviet a Being realist changed music and person very brief reiteration of Chapter 3 argument


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