In Search of a Synthesis: Reflections on Two Interpretations of Edvard Radzinskii's Lunin or the Death of Jacques, Recorded in the Presence of the Master

This article examines the contemporary Soviet dramatist Edward Radzinskii's Lunin , the second play in the author's "historical-philosophical trilogy" [ Conversations with Socrates (1969), Lunin (1979), and Theater at the Time of Nero and Seneca (1981)]. All three dramas ad...

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Main Author: Maia Kipp
Format: Article
Language:English
Published: New Prairie Press 1989-08-01
Series:Studies in 20th & 21st Century Literature
Online Access:http://newprairiepress.org/sttcl/vol13/iss2/7
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spelling doaj-eb24187f54f1498bbf8965963c921e582020-11-24T21:06:15ZengNew Prairie PressStudies in 20th & 21st Century Literature2334-44151989-08-0113210.4148/2334-4415.12355609173In Search of a Synthesis: Reflections on Two Interpretations of Edvard Radzinskii's Lunin or the Death of Jacques, Recorded in the Presence of the MasterMaia KippThis article examines the contemporary Soviet dramatist Edward Radzinskii's Lunin , the second play in the author's "historical-philosophical trilogy" [ Conversations with Socrates (1969), Lunin (1979), and Theater at the Time of Nero and Seneca (1981)]. All three dramas address the relationship between the intellectual and authority. As a philosophical play and as part of the trilogy, Lunin raises universal ethical questions: the banality of power, the paranoia of ideological dogmatists, the fate of the individual who refuses to compromise in the face of a system which will not tolerate any denial of its authority. As an historical play, Lunin is set in a specific historical context. Its protagonist, the Decembrist M.S. Lunin, confronts the Russian autocracy, a tyranny that seeks its legitimacy not in custom or law but in rationality itself and is unchecked by God or man. The composition of this drama and its imagery make it unusually theatrical. The article examines the interpretations of this drama presented in both Soviet and American productions of the play and considers the tension between the philosophical and historical dimensions of the drama evident in these productions. The author concludes that in seeking to exploit the theatrical potential of this play, a production, while taking into account the nature of its audience, should not lose sight of either its philosophical or historical meaning.http://newprairiepress.org/sttcl/vol13/iss2/7
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language English
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author Maia Kipp
spellingShingle Maia Kipp
In Search of a Synthesis: Reflections on Two Interpretations of Edvard Radzinskii's Lunin or the Death of Jacques, Recorded in the Presence of the Master
Studies in 20th & 21st Century Literature
author_facet Maia Kipp
author_sort Maia Kipp
title In Search of a Synthesis: Reflections on Two Interpretations of Edvard Radzinskii's Lunin or the Death of Jacques, Recorded in the Presence of the Master
title_short In Search of a Synthesis: Reflections on Two Interpretations of Edvard Radzinskii's Lunin or the Death of Jacques, Recorded in the Presence of the Master
title_full In Search of a Synthesis: Reflections on Two Interpretations of Edvard Radzinskii's Lunin or the Death of Jacques, Recorded in the Presence of the Master
title_fullStr In Search of a Synthesis: Reflections on Two Interpretations of Edvard Radzinskii's Lunin or the Death of Jacques, Recorded in the Presence of the Master
title_full_unstemmed In Search of a Synthesis: Reflections on Two Interpretations of Edvard Radzinskii's Lunin or the Death of Jacques, Recorded in the Presence of the Master
title_sort in search of a synthesis: reflections on two interpretations of edvard radzinskii's lunin or the death of jacques, recorded in the presence of the master
publisher New Prairie Press
series Studies in 20th & 21st Century Literature
issn 2334-4415
publishDate 1989-08-01
description This article examines the contemporary Soviet dramatist Edward Radzinskii's Lunin , the second play in the author's "historical-philosophical trilogy" [ Conversations with Socrates (1969), Lunin (1979), and Theater at the Time of Nero and Seneca (1981)]. All three dramas address the relationship between the intellectual and authority. As a philosophical play and as part of the trilogy, Lunin raises universal ethical questions: the banality of power, the paranoia of ideological dogmatists, the fate of the individual who refuses to compromise in the face of a system which will not tolerate any denial of its authority. As an historical play, Lunin is set in a specific historical context. Its protagonist, the Decembrist M.S. Lunin, confronts the Russian autocracy, a tyranny that seeks its legitimacy not in custom or law but in rationality itself and is unchecked by God or man. The composition of this drama and its imagery make it unusually theatrical. The article examines the interpretations of this drama presented in both Soviet and American productions of the play and considers the tension between the philosophical and historical dimensions of the drama evident in these productions. The author concludes that in seeking to exploit the theatrical potential of this play, a production, while taking into account the nature of its audience, should not lose sight of either its philosophical or historical meaning.
url http://newprairiepress.org/sttcl/vol13/iss2/7
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