Russian avant-garde

am aware of a hope, an expectation, a desire, deep in my heart, awaiting something with both stylish actions and a realistic plot. The Tenth Mile perfectly fits that blank space. Born in America and raised in six different countries, the young avant-garde director John Vargas set out to produce something different. And he did it. The story seems incredibly real and resonates well with us normal people—partly because Vargas based the story largely on his own experience living and learning martial

sense of comfort and security. Additionally, Marjane feels as if her relationship with God cannot be altered because she is a loyal servant to Him. Furthermore, Marjane states, “Deep down I was very religious but as family we were very modern and avant-garde” (Satrapi 6). This represents how Marjane has conflicting religious views with her family. This indicates how the harder Marjane tries to find a balance between her religious and modern views, the less attention she uses to focus on God. Marjane

Transcendentalism, post-modernism, absurdism, surrealism, magical realism: literary movements designed to expand the mind and challenge popular conceptions of what literature truly means. Socialist realism, on the other hand, was formulated and implemented solely as an attempt to prevent free thought and limit the mind to the acceptance of one ideology. Aspects of socialist realism date back as far as 1860, but it did not become the official state policy of the Soviet Union until 1932, at which point

Vsevolod Meyerhold is a broadly known Russian theatre practitioner, who created and taught Theatrical Biomechanics, which is both “an acting technique and a production style” (Baldwin, 1995: p. 181). Mostly because of Meyerhold’s unique position as the leading Soviet avant-garde director, his Biomechanics received wide attention in the beginning of the XXI century (Law, 1995: p. 1). However, if Meyerhold was influenced by Commedia dell’arte at first and after the Revolution by Taylor’s scientific

New currents in European cinema began to arise in the nineteen eighties. Globalization radically impacted the form and content of cinema much in the same way that it reshaped politics and economics. With the formation of the European Union, the destruction of the fracturing of the Soviet Republic, and the advent of the internet, artistic sensibilities began to blur across country lines. This is not to say that nations ceased to have their specific cultural relevancy within their films. Rather, they

Spring and The Nutcracker’s differences has made some sort of an impact in the performing world back then as well as now. To begin, The Rite of Spring was composed by Igor Stravinsky. Stravinsky was born in 1882 near St. Petersburg, Russia. As a Russian-born composer, his music had “a revolutionary impact on musical thought and sensibility just before and after World War I, and his compositions remained a touchstone of modernism for much of his long working life” (Taruskin; White). According to Wikipedia

Germany was, relatively speaking, a new nation; new as a single nation. Russian contributions to music and dance were new; they did not date back centuries like in England, France, Germany and Italy. Politically, Germany found herself in a similar situation. She was new and wanted to make her place among the great powers; she

Sergei Eisenstein and Dziga Vertov are among the most identifiable names in early Soviet film. Their contributions to film, in the areas of montage and documentary film respectively, have helped to structure film, as we know it today. However, apart from their theoretical contributions to the field, both directors played an imperative role in Soviet film during the 1920s and 1930s. This paper examines historical revisionism within their film, how their theories of montage influenced the revisionism

The term ‘Art Deco’ has been used to describe the sophisticated decorative style of art and design of the 1920s and 1930s. The name was derived from an abbreviation of the French words ‘art’ and ‘décoratif’, which were featured in the first major exhibition of decorative arts after the Great War, The Exposition Internationale des Arts Décoratifs et Industriels Modernes that was held in Paris in 1925.  The term ‘Art Deco’ however was not common until the mid‐1960s, when the Musée des Arts Décoratifs

Do you know that there are difference between colors in every paintings that you see? Here is the secret revealed in the paintings of Boccioni and Malevich. Boccioni and Malevich are famous artists and they have many famous paintings of their own. Color is something that changes the mood and paintings. One can differentiate a painting from another by use of colors which are specific to a painter. The use of color in paintings of Boccioni and Malevich are different in technique, types of color and