Multi-Mediated Dostoevsky: Transposing Novels into Opera, Film, and Drama (Studies in Russian Literature and Theory)

Since their publication, the works of Dostoevsky have provided rich fodder for adaptations to opera, film, and drama. While Dostoevsky gave his blessing to the idea of adapting his work to other forms, he believed that "each art form corresponds to a series of poetic thoughts, so that one idea cannot be expressed in another non-corresponding form." In __Multi-Mediated Dostoevsky,__ Alexander Burry argues that twentieth-century adaptations (which he calls "transpositions") of four of Dostoevsky’s works—Sergei Prokofiev’s opera __The Gambler,__ Leos Janacek’s opera __From the Dead House,__ Akira Kurosawa’s film __The Idiot,__ and Adrzej Wajda’s drama __The Devils__—follow Dostoevsky’s precept by bringing to light underdeveloped or unappreciated aspects of Dostoevsky’s texts rather than by slavishly attempting to recreate their sources. Burry’s interdisciplinary approach gives his study broad appeal to scholars as well as to students of Russian, comparative literature, music, film, drama, and cultural studies. Since their publication, the works of Dostoevsky have provided rich fodder for adaptations to opera, film, and drama. While Dostoevsky gave his blessing to the idea of adapting his work to other forms, he believed that "each art form corresponds to a series of poetic thoughts, so that one idea cannot be expressed in another non-corresponding form." In Multi-Mediated Dostoevsky, Alexander Burry argues that twentieth-century adaptations (which he calls "transpositions") of four of Dostoevsky’s works—Sergei Prokofiev’s opera The Gambler, Leos Janacek’s opera From the Dead House, Akira Kurosawa’s film The Idiot, and Adrzej Wajda’s drama The Devils —follow Dostoevsky’s precept by bringing to light underdeveloped or unappreciated aspects of Dostoevsky’s texts rather than by slavishly attempting to recreate their sources. Burry’s interdisciplinary approach gives his study broad appeal to scholars as well as to students of Russian, comparative literature, music, film, drama, and cultural studies. Contents Acknowledgments Introduction: Dostoevsky and Transposition Chapter One: Transposition as Criticism Chapter Two: The Artist as Gambler: Prokofiev and Dostoevsky Chapter Three: Voices of the Folk: Janácek’s From the House of the Dead Chapter Four: Secularizing Dostoevsky’s “Positively Good Man”: Kurosawa’s The Idiot Chapter Five: Restaging Two Sources: Wajda’s The Devils Afterword Appendix A: Musical Examples from Prokofiev, The Gambler Appendix B: Musical Examples from Janáček, From the House of the Dead Notes Works Cited Index Transposition As Criticism -- The Artist As Gambler : Prokofiev And Dostoevsky -- Voices Of The Folk : Janacek's From The House Of The Dead -- Secularizing Dostoevsky's Positively Good Man : Kurosawa's The Idiot -- Restaging Two Sources : Wajda's The Devils. Alexander Burry. Originally Presented As The Author's Thesis (ph.d.)--northwestern University, 2001. Includes Bibliographical References (p. 225-236) And Index. Argues that twentieth-century adaptations of four of Dostoevsky's works - Sergei Prokofiev's opera The Gambler, Leos Janacek's opera From the Dead House, Akira Kurosawa's film The Idiot, and Adrzej Wajda's drama The Devils - bring to light under developed or unappreciated aspects of Dostoevsky's texts rather than by slavishly attempting to recreate their sources.