How and why does the stage, and those who perform upon it, play such a significant role in the social makeup of modern Russia, Ukraine and Belarus? In New Drama in Russian, Julie Curtis brings together an international team of leading scholars and practitioners to tackle this complex question. New Drama, which draws heavily on techniques of documentary and verbatim writing, is a key means of protest in the Russian-speaking world; since the fall of the Soviet Union in 1991, theatres, dramatists, and critics have collaborated in using the genre as a lens through which to explore a wide range of topics from human rights and state oppression to sexuality and racism. Yet surprisingly little has been written on this important theatrical movement. New Drama in Russian rectifies this. Through providing analytical surveys of this outspoken transnational genre alongside case-studies of plays and interviews with playwrights, this volume sheds much-needed light on the key issues of performance, politics, and protest in Russia, Ukraine and Belarus. Meticulously researched and elegantly argued, this book will be of immense value to scholars of Russian cultural history and post-Soviet literary studies.

New Russian Drama took shape at the turn of the new millennium—a time of turbulent social change in Russia and the former Soviet republics. Emerging from small playwriting festivals, provincial theaters, and converted basements, it evolved into a major artistic movement that startled audiences with hypernaturalistic portrayals of sex and violence, daring use of non-normative language, and thrilling experiments with genre and form. The movement’s commitment to investigating contemporary reality helped revitalize Russian theater. It also provoked confrontations with traditionalists in society and places of power, making theater once again Russia’s most politicized art form. This anthology offers an introduction to New Russian Drama through plays that illustrate the versatility and global relevance of this exciting movement. Many of them address pressing social issues, such as ethnic tensions and political disillusionment; others engage with Russia’s rich cultural legacy by reimagining traditional genres and canons. Among them are a family drama about Anton Chekhov, a modern production play in which factory workers compose haiku, and a satirical verse play about the treatment of migrant workers, as well a documentary play about a terrorist school siege and a postdramatic “text” that is only two sentences long. Both politically and aesthetically uncompromising, they chart new paths for performance in the twenty-first century. Acquainting English-language readers with these vital works, New Russian Drama challenges us to reflect on the status and mission of the theater.

The so-called "New Russian Drama" emerged at the end of the twentieth century, following a long period of decline in dramatic writing in the late Soviet and post-Soviet era. In Performing Violence, Birgit Beumers and Mark Lipovetsky examine the representation of violence in these new dramatic works by young Russian playwrights. Reflecting the disappointment in Yeltsin's democratic reforms and Putin's neoconservative politics, the plays focus on political and social representations of violence, its performances, and its justifications. As the first English-language study of Russian drama and theatre in the twenty-first century, Performing Violence seeks a vantage point for the analysis of brutality in post-Soviet culture. While previous generations had preferred poetry and prose, this new breed of authors--the Presnyakov brothers, Evgeni Grishkovets, and Vasili Sigarev among them--have garnered international recognition for their fierce plays. This book investigates the violent portrayal of the identity crisis of a generation as represented in their theatrical works, and will be a key text for students and scholars of drama, Russian studies, and literature.

A gripping and shocking insight into the lives of Russiaâe(tm)s most famous oligarchs from New York Times bestselling author of The Accidental Billionaires and Bringing Down the House. Once Upon a Time in Russia is the untold true story of the larger-than-life billionaire oligarchs who surfed the waves of privatization to reap riches after the fall of the Soviet regime: âeoeGodfather of the Kremlinâe Boris Berezovsky, a former mathematician whose first entrepreneurial venture was running an automobile reselling business, and Roman Abramovich, his dashing young protégé who built a multi-billion-dollar empire of oil and aluminium. Locked in a complex, uniquely Russian partnership, Berezovsky and Abramovich battled their way through the âeoeWild Eastâe of Russia with Berezovsky acting as the younger manâe(tm)s krysha- literally, his roof, his protector. Written with the heart-stopping pace of a thriller -but even more compelling because it is true - this story of amassing obscene wealth and power depicts a rarefied world seldom seen up close. Under Berezovskyâe(tm)s krysha, Abramovich built one of Russiaâe(tm)s largest oil companies from the ground up and in exchange made cash deliveries - including 491 million dollars in just one year. But their relationship frayed when Berezovsky attacked President Vladimir Putin in the media - and had to flee to the UK. Abramovich continued to prosper. Dead bodies trailed Berezovskyâe(tm)s footsteps, and threats followed him to London, where an associate of his died painfully and famously of Polonium poisoning. Then Berezovsky himself was later found dead, declared a suicide. Exclusively sourced, capturing a momentous period in recent world history, Once Upon a Time in Russia is at once personal and political, offering an unprecedented look into the wealth, corruption, and power behind what Graydon Carter called âe~the story of our ageâe(tm).

Transnational Russian Studies offers an approach to understanding Russia based on the idea that language, society and culture do not neatly coincide, but should be seen as flows of meaning across ever-shifting boundaries. Our book moves beyond static conceptions of Russia as a discrete nation with a singular language, culture, and history. Instead, we understand it as a multinational society that has perpetually redefined Russianness in reaction to the wider world. We treat Russian culture as an expanding field, whose sphere of influence transcends the geopolitical boundaries of the Russian Federation, reaching as far as London, Cape Town, and Tehran. Our transnational approach to Russian Studies generates new perspectives on the history of Russian culture and its engagements with, and transformation by, other cultures. The volume thereby simultaneously illuminates broader conceptions of the transnational from the perspective of Russian Studies. Over twenty chapters, we provide case studies based on original research, treating topics that include Russia's imperial and postcolonial entanglements; the paradoxical role that language plays in both defining culture in national terms, and facilitating transnational communication; the life of things 'Russian' in the global arena; and Russia's positioning in the contemporary globalized world. Our volume is aimed primarily at students and researchers in Russian Studies, but it will also be relevant to all Modern Linguists, and to those who employ transnational paradigms within the broader humanities.