Word: pushkins
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Dates: during 1960-1969
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...delicate interplay of emotions that flow from the least gesture of Haydée's body, the slightest tilt of her head. Her Juliet is funny, touching and finally heartbreaking. Her Tatiana melds waif with woman so successfully that the pools of bathos beneath the surface of the Pushkin-cum-Tchaikovsky Eugene Onegin never once spill over. Her Kate is a farouche wallflower on the surface, a child within. Kate's trustful obedience, when it is finally granted to Petruchio at the end of a rough-and-tumble parody in which Cragun and Haydée hilariously demolish...
...realm of letters, Pushkin and Lermontov were giants in poetry. The novel reached lofty heights with Goncharov, Gogol, Turgenev, and others--and a level unsurpassed in any other country or time with Dostoyevsky and Leo Tolstoy. Some of these wrote for the theatre too, but the chief dramatists were Griboyedov, Ostrovsky, Gorky, and -- above all -- Anton Chekhov...
More words have been published about Isaac Babel than by him. It is a situation that would have greatly amused the Russian-Jewish short-short-story writer whose work exemplifies Pushkin's golden rule that "precision and brevity are the prime qualities of prose." As a writer who could be economical without sacrificing impact, Babel compares favorably with Chekhov. Even Hemingway, one of the most ruthless wringers of prose, conceded that Babel could "clot the curds" better than he could...
Cranko's work is at its best in extended ballets with strong dramatic substance. Opening the company's three-week New York visit was one of his best, an evening-long interpretation of Pushkin's intensely romantic verse-drama Eugene Onegin. Two nights later, the company presented an even more stunning tour deforce, a balletic version of Shakespeare's Taming of the Shrew. Both were lavishly mounted, eye-filling pieces. Onegin uses a score by Music Director Kurt-Heinz Stolze based on short pieces by Tchaikovsky. The work moves quickly and assuredly through Pushkin...
...production of the play has some interesting points, too. Film is used, but not to show actions that are important psychologically, Shea points out. Rather, the film sequences show major events in the lives of the characters that they then have to deal with. Pushkin watches the bloody raid on the Decembrist Revolutionists by forces of the Czar on film, and Lermontov watches the death of Pushkin on film. Later, the Czar sees part of Lermontov's novel, which he terms "self-indulgent," on the screen...