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Three Loves for Three Oranges

Three Loves for Three Oranges

Gozzi, Meyerhold, Prokofiev

Edited by Dassia N. Posner and Kevin Bartig

Contributions by Caryl Emerson, Alberto Beniscelli, Giulietta Bazoli, Domenico Pietropaolo, Ted Emery, Natalya Baldyga, Raissa Raskina, Vadim Shcherbakov, Laurence Senelick, Julia Galanina, Inna Naroditskaya, Natalia Savkina, Simon A. Morrison and John E. Bowlt

Published by: Indiana University Press

Imprint: Indiana University Press

460 Pages, 156.00 × 235.00 mm, 60 b&w illus., 13 printed music items - 13 Printed music items - 60 Illustrations, black and white

Hardcover
9780253057884
Published: September 2021

£40.00

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Description
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Praise

Uniquely, this volume gives us innovative translations, detailed comparisons and interdisciplinary analyses of all three texts detailing the journey from Carl Gozzi's fiaba, through Meyerhold/Soloviev/Vogak's Divertissement, to Prokofiev's opera. Previous literature mapped some of the changes, but none offered the comprehensive analyses we find in this book. . . . The tripartite structure of the book is the most logical in terms of the material and, together with the cited paired chapters, as well as reading chapters as stand-alone texts, allow a multi-focus use both for the specialist and the general reader. The editors are to be congratulated for their overall innovative approach and for making the work of many Italian and Russian scholars available in English.
- F Jane Schopf (Stanislavski Studies)
This is a delightful book, as scholarly in its method as it is light-hearted in its approach. It is also unique in that it brings together for the very !rst time in publication history three famous, but not fully excavated and known works by Carlo Gozzi, Vsevolod Meyerhold (together with Vladmir Solovyev and Konstantin Vogak), and Sergey Proko!ev.
- Maria Shevtsova (New Theatre Quarterly)
A complex and rigorous exploration of the artistic lineages, Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev offers a detailed study of the intertwined creative paths of Gozzi's theatrical fairy tale (fiaba), Meyerhold's divertissement, and Prokofiev's opera. This carefully conceived and elegantly executed collection of essays and originally translated theatrical texts is an immense multidisciplinary historiographic undertaking, which includes insightful contributions of seventeen scholars from the fields of theater and art history, Italian and Slavic Studies, and musicology. . . . Highlighting the importance of multiple cultural and disciplinary perspectives in historiographic research, the volume boldly paves the way for further investigations of theatrical genealogies.
- Julia Listengarten (The Russian Review)