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dc.contributor.authorMurata, Shin’ichi
dc.date.accessioned2024-04-02T15:50:49Z
dc.date.available2024-04-02T15:50:49Z
dc.date.issued2023
dc.identifierONIX_20240402_9791221502381_217
dc.identifier.issn2612-7679
dc.identifier.urihttps://library.oapen.org/handle/20.500.12657/89248
dc.languageRussian
dc.relation.ispartofseriesBiblioteca di Studi Slavistici
dc.subject.classificationthema EDItEUR::D Biography, Literature and Literary studies::DS Literature: history and criticism
dc.subject.otherChekhov’s reception
dc.subject.otherPerception of theatrical art
dc.subject.otherlive sound
dc.subject.otherstage sound
dc.subject.othershift technique
dc.titleChapter Слушая Сад: переосмысление звуковых аспектов чеховской пьесы на примере японской и итальянской постановок
dc.typechapter
oapen.abstract.otherlanguageListening to The Orchard: Rethinking the Sound Aspect of Chekhov’s Play in Japanese and Italian Productions. The best dramatists write plays in such a way that the performance can realize the deep meaning of the sound aspect of the original text. In the belief of theatrical art, sound is much closer to tangibility than appearance. Using The Cherry Orchard by A.P. Chekhov as an example, the article examines the role and significance of distinct types of “live sound” that figure out the theatricality of a literary text and its concept. For comparative analysis, well-known Japanese and Italian performances based on The Cherry Orchard in the second half of the 20th century and early 21st centuries are compared.
oapen.identifier.doi10.36253/979-12-215-0238-1.06
oapen.relation.isPublishedBybf65d21a-78e5-4ba2-983a-dbfa90962870
oapen.relation.isbn9791221502381
oapen.series.number55
oapen.pages17
oapen.place.publicationFlorence


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