Essay und diskurs deutschlandradio live stream
Sigizmund Krzhizhanovsky’s fiction—dozens of short stories and a handful of novellas, written primarily in the 1920s and ’30s—is at once fantastical, playful, metafictional, and intellectual. Among the protagonists in his stories are many starving, idealistic writers and inventors, as well as figures from Western philosophy whom Krzhizhanovsky has fictionalized into his imaginative narratives. This essay argues that Krzhizhanovsky’s fiction is essentially theatrical, in accordance with Krzhizhanovsky’s own understanding of the theater. He worked as a lecturer, dramaturge, and playwright in Tairov’s Chamber Theatre, and much like Gustav Shpet, Fyodor Stepun, Nikolai Evreinov, and Viacheslav Ivanov, Krzhizhanovsky attempted to philosophize the theater in his writings.
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The essay does justice to the rich intertextual background of the novella, featuring, among others, motifs from Alexander Pushkin’s Captain’s Daughter (and the broader Walter-Scottian topos of encounters of the everyman protagonist with a major historical figure), Friedrich Schiller’s drama William Tell , and the Bible’s Book of Daniel .
Fortunately, my sonades found sufficient favour that my equivocation does not make me blush. André Tessier, who wrote a biographical essay on Couperin in 1926, suggested that this ‘Italianized name’ might have been Pernucio or Coperuni.