{"title":"梅耶霍尔德的男演员选角","authors":"Janne Risum","doi":"10.1016/j.ruslit.2022.09.002","DOIUrl":null,"url":null,"abstract":"<div><p>In this article I examine Meyerhold's occasional castings of actresses for male parts in a small, but significant, number of instances from his long career as a stage director. Meyerhold cast a woman for a male part six times, five of them in tragedies. However, he did so intermittently and for different purposes, to suit highly heterogenous contexts. Three cases have particularly interesting perspectives: his 1915 production at the Alexandrinsky Theatre in Saint Petersburg of Calderon de la Barca's Spanish Baroque tragedy <em>The Constant Prince</em>; his 1926 co-production at the Meyerhold Theatre in Moscow of Tretyakov's activist melodrama <em>Roar, China!</em>; and his 1931 production at the Meyerhold Theatre of Yury Olesha's contemporary tragedy <em>A List of Benefits</em>. The three cases are not connected but are – each in its own way – artistic reactions to the three consecutive, dissimilar systems of government, under which Meyerhold lived and worked: the Tsarist regime, the formative first decade of the Soviet Union, and finally Stalinism. On a more basic personal level, they reflect Meyerhold's habitual preference for tragedy as a means of expression to reveal the social mechanisms exploited by oppression or released against it. In each case, casting an actress in a male part poses a maximum contrast to the oppressive system inquired into by way of metonymy.</p></div>","PeriodicalId":43192,"journal":{"name":"RUSSIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Meyerhold's Castings of Actresses for Male Parts\",\"authors\":\"Janne Risum\",\"doi\":\"10.1016/j.ruslit.2022.09.002\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<div><p>In this article I examine Meyerhold's occasional castings of actresses for male parts in a small, but significant, number of instances from his long career as a stage director. Meyerhold cast a woman for a male part six times, five of them in tragedies. However, he did so intermittently and for different purposes, to suit highly heterogenous contexts. Three cases have particularly interesting perspectives: his 1915 production at the Alexandrinsky Theatre in Saint Petersburg of Calderon de la Barca's Spanish Baroque tragedy <em>The Constant Prince</em>; his 1926 co-production at the Meyerhold Theatre in Moscow of Tretyakov's activist melodrama <em>Roar, China!</em>; and his 1931 production at the Meyerhold Theatre of Yury Olesha's contemporary tragedy <em>A List of Benefits</em>. The three cases are not connected but are – each in its own way – artistic reactions to the three consecutive, dissimilar systems of government, under which Meyerhold lived and worked: the Tsarist regime, the formative first decade of the Soviet Union, and finally Stalinism. On a more basic personal level, they reflect Meyerhold's habitual preference for tragedy as a means of expression to reveal the social mechanisms exploited by oppression or released against it. In each case, casting an actress in a male part poses a maximum contrast to the oppressive system inquired into by way of metonymy.</p></div>\",\"PeriodicalId\":43192,\"journal\":{\"name\":\"RUSSIAN LITERATURE\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"RUSSIAN LITERATURE\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://www.sciencedirect.com/science/article/pii/S0304347922000898\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE, SLAVIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"RUSSIAN LITERATURE","FirstCategoryId":"1085","ListUrlMain":"https://www.sciencedirect.com/science/article/pii/S0304347922000898","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE, SLAVIC","Score":null,"Total":0}
In this article I examine Meyerhold's occasional castings of actresses for male parts in a small, but significant, number of instances from his long career as a stage director. Meyerhold cast a woman for a male part six times, five of them in tragedies. However, he did so intermittently and for different purposes, to suit highly heterogenous contexts. Three cases have particularly interesting perspectives: his 1915 production at the Alexandrinsky Theatre in Saint Petersburg of Calderon de la Barca's Spanish Baroque tragedy The Constant Prince; his 1926 co-production at the Meyerhold Theatre in Moscow of Tretyakov's activist melodrama Roar, China!; and his 1931 production at the Meyerhold Theatre of Yury Olesha's contemporary tragedy A List of Benefits. The three cases are not connected but are – each in its own way – artistic reactions to the three consecutive, dissimilar systems of government, under which Meyerhold lived and worked: the Tsarist regime, the formative first decade of the Soviet Union, and finally Stalinism. On a more basic personal level, they reflect Meyerhold's habitual preference for tragedy as a means of expression to reveal the social mechanisms exploited by oppression or released against it. In each case, casting an actress in a male part poses a maximum contrast to the oppressive system inquired into by way of metonymy.
期刊介绍:
Russian Literature combines issues devoted to special topics of Russian literature with contributions on related subjects in Croatian, Serbian, Czech, Slovak and Polish literatures. Moreover, several issues each year contain articles on heterogeneous subjects concerning Russian Literature. All methods and viewpoints are welcomed, provided they contribute something new, original or challenging to our understanding of Russian and other Slavic literatures. Russian Literature regularly publishes special issues devoted to: • the historical avant-garde in Russian literature and in the other Slavic literatures • the development of descriptive and theoretical poetics in Russian studies and in studies of other Slavic fields.