Title page for ETD etd-0130103-053846

Type of Document Dissertation
Author Tselebrovski, Alexander V.
Author's Email Address atseleb@lsu.edu
URN etd-0130103-053846
Title The History of Russian Vaudeville from 1800 to 1850
Degree Doctor of Philosophy (Ph.D.)
Department Theater
Advisory Committee
Advisor Name Title
Les Wade Committee Chair
Leigh Ann Clemons Committee Co-Chair
Femi Euba Committee Member
Gerilyn Tandberg Committee Member
Thomas C. Owen Dean's Representative
  • 19 century
  • vaudeville
  • Russian theatre
  • music
Date of Defense 2002-12-19
Availability unrestricted
 There is no significant scholarly work on the history of the Russian

vaudeville. The author of the dissertation makes an attempt to explore the history

of vaudeville in Russia from 1812, when the first original vaudeville was written by

A. Shakhovskoi, to the 1850s, when vaudeville as a genre was finalized as a form

and brought to its classic completion.

Two phases of the history of vaudeville in Russia, aristocratic and

democratic-raznochinnyi, are considered in close connection with the political,

social, and cultural events of Russian society of the time.

The first phase embraces the period from 1812, when the first original

Russian vaudeville was produced in St-Petersburg, to 1825, when tsar Aleksandr

I died and Nicholas I inherited the crown of the Russian empire. The second

phase, democratic-raznochinnyi, includes the years from 1826 until 1855, the

years in which Nicholas I ruled. The division of the history of Russian vaudeville

is made on the assumption that political events in Russian society always have

been closely connected with and often caused changes in its cultural, art, and

literary life. Vaudevillists such as A. Shakhovskoi, N. Khmelnitskii, A. Griboedov,

and A. Pisarev present the first phase. F. Koni, P. Karatygin, and N. Nekrasov

familiarize the reader with the second phase. The author of this dissertation

analyzes the most exemplary works of each of the aforementioned authors.

For better understanding the peculiarities of the development of vaudeville

in Russia, the dissertation also presents a broad socio-cultural background of the

first half of the nineteenth century and shows how theatre in general, and

vaudeville in particular, mirrored the changes of the socio-cultural life of the nation

in their own way.

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