Word: russianize
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Dates: during 1920-1929
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This time these theatrical rum-runners are going to smuggle into our dry dramaturgic desert some strong stuff from Russia and give us for once a draught of the newer Russian vintage. Heretofore most of us have had a chance to taste Russian drama only through the beautiful but already somewhat old-fashioned and dusty museum pieces of the Moscow Art Theatre and the "twilight realism" that comes from the lower depths of Gorki's subterranean cellar or from the cherished charm of Chekhov's cherry orchard. Now at last we have a whack at a play by the most...
...Philadelphia Orchestra gave its first public concert. With it appeared as soloist Ossip Gabrilowitsch, brilliant young Russian pianist, then making his first U.S. tour. Last week the same orchestra, the same soloist were heard again in Manhattan. Because he felt himself a comparative newcomer, Leopold Stokowski handed his stick to Concertmaster Thaddeus Rich who, a better conductor than most concertmasters, led the first number. Then Mr. Gabrilowitsch, a more mature and no less brilliant artist than he was 25 years ago, sonorously assisted in interpreting the rugged, lordly and immortal Tschaikowsky's B-flat Minor Concerto...
...will be given for the first time tomorrow night, was written especially for the Crimson by William L. Laurence '12. Laurence was a member of the 47-Workshop and has done work with Edward Massey '15, and Eugene O'Neil. He has translated plays from Spanish German, French, and Russian...
...characteristically vague about it. "For some a comedy" he says, one imagines with a roguish twinkle, "and for others a drama." Or, as Shakespeare said it with much subtler whimsicality, "as you like it." "I don't care whether you laugh or weep", says the "enfant terrible" of the Russian Theatre, "as long as I have succeeded in arousing your interest, in stimulating your curiosity, in helping you while away a few dull hours in this dull existence of yours, in a word, if I have succeeded in amusing you I have fulfilled my mission as a good showman...
...revealing it to us in its full opalescent splendor. The keynote of unworldliness, of "transcendental buffoonery" as Schlezel called it, is struck in the very opening of the first act and is sustained throughout the play. With much subtlety and with a whimsical humor not generally associated with the Russian drama in the mind of the average English-speaking theatregoer, the author transposes his characters from one level of existence to another, from fact to fancy and back again, so that right before our very eyes reality as though by magic melts away into unreality and a new fantastic world...