37:
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333:, concluded the performance. Writing in 1928, Eisenstein explained that he had aimed "to achieve a revolutionary modernization of Ostrovsky, i.e., a social re-evaluation of his characters, seeing them as they might appear today."
743:
445:
The sources offer different dates for the opening: Gerould gives 16 April while
Kleberg gives 26 April; see Gerould (1974, 73) and Kleberg (1980, 80–81).
680:
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Brockett and Hildy (2003, 370). The play's title has been rendered in
English in many different ways in the critical literature, including:
36:
257:" of the theatre. In celebration of the centennial of Ostrovsky's birth, the production opened in April 1923. It was staged by the
17:
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of this style permitted leaps from one type of expression to another, as well as unexpected intertwinings of the two expressions.
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Sealey Rahman, Kate. 1999. "Aleksandr
Ostrovsky – Dramatist and Director." In Leach and Borovsky (1999, 166–181).
202:
82:
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Kleberg (1980, 78–82), Kolocotroni, Goldman, and
Taxidou (1998, 295–297), and Rudnitsky (1988, 94–96).
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128: Na vsyakogo mudretsa dovolno prostoty), sometimes published in English under the title
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638:. Trans. Roxane Permar. Ed. Lesley Milne. London: Thames and Hudson. Rpt. as
578:. Trans. Charles Rougle. New Directions in Theatre. London: Macmillan, 1993.
217:
184:
383:
Banham (1998, 829), Brockett and Hildy (2003, 370), and
Gerould (1974, 73).
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537:. Revised edition. Original edition published in 1988. London: Methuen.
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231:(what Eisenstein called a "montage of attractions"), which was entitled
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and charts the rise of a double-dealer who manipulates other people's
320:
316:
454:
Gerould (1974, 74), Kleberg (1980, 80–81), and
Rudnitsky (1988, 96).
427:
Gerould (1974, 73–74), Kleberg (1980, 81), and
Rudnitsky (1988, 96).
589:
Kolocotroni, Vassiliki, Jane
Goldman, and Olga Taxidou, eds. 1998.
292:
206:
205:
11 March] 1910. Stanislavski played
General Krutitsky and
552:. Ninth edition, International edition. Boston: Allyn and Bacon.
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A production of the play was the most significant of the early
154:
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362:, which Brockett and Hildy give as an alternative; or simply
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directed an adaptation of the play for television in 1971.
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Russian and Soviet
Theatre: Tradition and the Avant-Garde
576:
Theatre as Action: Soviet Russian Avant-Garde Aesthetics
281:. Eisenstein drew on popular theatre techniques such as
239:). Eisenstein and Tretyakov's approach was part of the
392:
Banham (1998, 829) and Brockett and Hildy (2003, 370).
327:A screening of Eisenstein's first film, entitled
886:
729:
682:Enough Stupidity in Every Wise Man
666:Enough Stupidity in Every Wise Man
591:Modernism: An Anthology of Sources and Documents
548:Brockett, Oscar G. and Franklin J. Hildy. 2003.
604:Leach, Robert, and Victor Borovsky, eds. 1999.
744:It's a Family Affair-We'll Settle It Ourselves
201:. The production opened on 23 March [
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157:. It is Ostrovsky's best-known comedy in the
291:in his staging, which sought to make every
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593:. Edinburgh: Edinburgh University Press.
259:First Workers' Theatre of the Prolekult
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563:Gerould, Daniel. 1974. "Eisenstein's
492:Na vsyakogo mudretsa dovolno prostoty
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227:transformed Ostrovsky's text into a
122:На всякого мудреца довольно простоты
832:It's Not All Shrovetide for the Cat
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816:Enough Stupidity in Every Wise Man
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113:Enough Stupidity in Every Wise Man
30:Enough Stupidity in Every Wise Man
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808:Sin and Sorrow Are Common to All
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520:The Cambridge Guide to Theatre.
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307:, rage is expressed through a
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867:(1880, with Nikolai Solovyov)
634:Rudnitsky, Konstantin. 1988.
606:A History of Russian Theatre.
481:Quoted by Gerould (1974, 73).
472:Quoted by Gerould (1974, 75).
370:in Sealey Rahman (199, 174);
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900:Plays by Alexander Ostrovsky
374:, in Magarshack (1950, 309).
315:, lyricism by a run along a
269:, with a cast that included
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406:Benedetti (1999, 212, 387).
216:work of the Russian Soviet
197:directed the play with his
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800:A Protégée of the Mistress
671:Internet Broadway Database
518:Banham, Martin, ed. 1998.
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619:Magarshack, David. 1950.
608:Cambridge: Cambridge UP.
522:Cambridge: Cambridge UP.
366:, in Gerould (1974, 73);
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85:1 November] 1868
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372:Even a Wise Man Stumbles
360:The Diary of a Scoundrel
18:The Diary of a Scoundrel
533:Benedetti, Jean. 1999.
311:, exaltation through a
265:, an ornate mansion on
195:Konstantin Stanislavsky
776:Don't Live as You Like
550:History of the Theatre
325:
261:in its theatre in the
81:13 November [
784:A Profitable Position
760:Stay in Your Own Sled
621:Stanislavsky: A Life.
574:Kleberg, Lars. 1980.
418:Rudnitsky (1988, 96).
303:A gesture turns into
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253:," which sought the "
171:Alexandrinsky Theatre
872:Talents and Admirers
642:. New York: Abrams.
571:18.1 (March): 71–85.
263:Arseny Morozov House
173:, Saint Petersburg.
145:. The play offers a
732:Alexander Ostrovsky
463:Gerould (1974, 74).
279:Grigori Aleksandrov
267:Vozdvizhenka Street
241:Russian avant-garde
143:Aleksandr Ostrovsky
72:Aleksandr Ostrovsky
62:production in 1910.
864:Light Without Heat
768:Poverty is No Vice
288:commedia dell'arte
199:Moscow Art Theatre
165:Production history
131:Too Clever By Half
60:Moscow Art Theatre
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368:Even Wise Men Err
223:. The playwright
221:Sergei Eisenstein
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341:A. Remizova
275:Ivan Pyryev
895:1868 plays
889:Categories
840:The Forest
347:References
309:somersault
305:gymnastics
249:known as "
187:, Moscow.
180:, Moscow.
68:Written by
792:The Storm
730:Plays by
321:grotesque
317:tightrope
147:satirical
126:translit.
688:Playbill
297:physical
293:metaphor
285:and the
247:movement
244:Futurist
207:Kachalov
190:Russian
155:vanities
50:Kachalov
685:at the
669:at the
565:Wiseman
512:Sources
237:Mudrets
233:Wiseman
214:theatre
183:1885 –
176:1868 –
169:1868 –
151:bigotry
118:Russian
94:Russian
58:in the
875:(1881)
859:(1878)
851:(1873)
843:(1871)
835:(1871)
827:(1869)
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811:(1863)
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319:. The
277:, and
139:comedy
104:Comedy
48:) and
690:Vault
283:farce
229:revue
100:Genre
54:right
644:ISBN
625:ISBN
610:ISBN
595:ISBN
580:ISBN
554:ISBN
539:ISBN
524:ISBN
497:IMDb
339:and
203:O.S.
159:West
83:O.S.
46:left
567:."
495:at
141:by
136:act
891::
411:^
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