
Contents
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After the Revolution: Shakespeare for a New Society After the Revolution: Shakespeare for a New Society
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From Shakesperiment to Shakespearizing From Shakesperiment to Shakespearizing
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From the War to Stalin’s Death From the War to Stalin’s Death
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The 1950s and an Opening of the Gates The 1950s and an Opening of the Gates
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Post-Thaw Shakespeare: Individualism, Conformation, and Political Allegory Post-Thaw Shakespeare: Individualism, Conformation, and Political Allegory
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Bibliography Bibliography
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30 Shakespeare in Czechoslovakia: The Comedy of Errors, Hamlet, and Coriolanus on the Operatic Stage
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22 Shakespeare and Soviet Music
Get accessMichelle Assay trained in piano performance at the Tchaikovsky Academy in Kyiv and at the Satie Conservatoire in Paris. She is currently a Leverhulme Research Fellow at the University of Huddersfield, working on the project devoted to Shakespeare and censorship in Soviet and post-Soviet music, film, and theatre. A published version of her PhD dissertation (Universities of Sorbonne and Sheffield), on Hamlet in the Stalin era, is forthcoming from Routledge. She is the founder and chair of international research groups on Shakespeare and Music and on Shakespeare in Central and Eastern Europe. In addition to her publications in these areas, she is the co-author of a major life-and-work study of Mieczysław Weinberg for the Toccata Press, has published on Carl Nielsen, and is a member of the editorial board of Carl Nielsen Studies. She continues to appear in concert as a solo and chamber pianist, and is a reviewer and writer for Gramophone.
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Published:14 February 2022
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Abstract
Despite recurrent mutual suspicion between the Soviet Union and the West, Shakespeare was almost as sacrosanct to the Soviets as their own canonical authors were. Many of the greatest Soviet (and post-Soviet) adaptations and appropriations of Shakespeare’s works have been enhanced by musical scores provided by the most prominent composers of the time. During the Soviet regime, several of the most famous Shakespearean musical works were introduced to the repertoire, from Prokofiev’s Romeo and Juliet ballet to Shostakovich’s setting of Sonnet 66 and his film music for the screen adaptations of Hamlet and King Lear. Soviet composers were also active in the field of operatic adaptation of Shakespeare, though in this regard their works have received less international attention. Soviet musical responses to Shakespeare have inevitably been intertwined with the cultural-politico climate of the country, and in many ways they could be used as a means of understanding that context and the vacillations of artistic freedom. Disregarding boundaries between ‘learned’ and ‘popular’, this chapter offers an overview of the wide range of musical responses to Shakespeare and his works in Russia and the Soviet Union, covering works in which music has been central (as in symphonic poems, operas, ballet, songs) or accompanying (theatre and film music).
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