| |
| Issue |
Title |
| |
| No 1 (2025) |
Why did Mochalov ‘rage’ as Romeo? From the history of ‘Russian Shakespeare’: Romeo i Yuliya as a melodrama for a benefit performance |
Abstract
|
|
E. M. Lutsenko |
| |
| No 5 (2024) |
Theatre in film as intensification of senses. Othello in R. Eyre’s Stage Beauty |
Abstract
|
|
P. Y. Rybina |
| |
| No 5 (2024) |
This is really not the point |
Abstract
|
|
I. O. Shaytanov |
| |
| No 5 (2023) |
Stéphane Mallarmé on Impressionism and the Impressionists in the context of French art criticism |
Abstract
|
|
M. V. Cherkashina |
| |
| No 5 (2023) |
The semiotics of silence; or, how differently it was interpreted by Mallarmé and Mandelstam |
Abstract
|
|
E. E. Dmitrieva |
| |
| No 5 (2022) |
The indiscreet charm of Eccentrism |
Abstract
|
|
A. A. Pronin |
| |
| No 6 (2021) |
Beyond Cuckoo’s Nest, or Composing one’s book |
Abstract
|
|
S. N. Liutova |
| |
| No 5 (2021) |
Chekhov’s text as a text of life. The ‘anti-theatrical’ stage adaptation of The Seagull [Chayka] by the Hungarian director Árpád Schilling |
Abstract
|
|
I. Regéczi |
| |
| No 2 (2020) |
Marcel Proust on screen. Film as a novel. Novel as a translation |
Abstract
|
|
S. L. Fokin |
| |
| No 2 (2018) |
THE CINEMA’S UNITY AND RIVALRY WITH LITERATURE. ON ALEXEY GERMAN’S CREATIVE EVOLUTION |
Abstract
PDF (Rus)
|
|
M. Amusin |
| |
| No 2 (2018) |
HAMLET’S APPROPRIATION IN AUTEUR AND INDEPENDENT CINEMA |
Abstract
PDF (Rus)
|
|
P. Rybina |
| |
| No 1 (2018) |
THE SYMBOLISM OF THE STAGE SPACE IN ANDREY BELY’S EARLY PLAYS |
Abstract
PDF (Rus)
|
|
A. Kholikov |
| |
| 1 - 12 of 12 Items |
|
