The dancer defects : the struggle for cultural supremacy during the Cold War /
The Cultural Cold War between the Soviet Union and the West was without precedent or parallel. At the outset of this original and wide-ranging historical survey, David Caute establishes the nature of the extraordinary cultural competition set up post-1945 between Moscow, New York, London, and Paris,...
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| Format: | Book |
| Language: | English |
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Oxford :
Oxford University Press,
2003
Oxford ; New York : 2003 Oxford ; New York : 2003 |
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| 100 | 1 | |a Caute, David |0 http://viaf.org/viaf/29531563 | |
| 100 | 1 | |a Caute, David |1 http://viaf.org/viaf/29531563 | |
| 100 | 1 | |a Caute, David | |
| 245 | 1 | 4 | |a The dancer defects : |b the struggle for cultural supremacy during the Cold War / |c David Caute |
| 260 | |a Oxford : |b Oxford University Press, |c 2003 | ||
| 260 | |a Oxford ; |a New York : |b Oxford University Press, |c 2003 | ||
| 264 | 1 | |a Oxford ; |a New York : |b Oxford University Press, |c 2003 | |
| 300 | |a xiv, 788 p. : |b ill. ; |c 24 cm | ||
| 300 | |a xiv, 788 p., [16] p. of plates : |b ill. ; |c 25 cm | ||
| 300 | |a xiv, 788 pages : |b illustrations ; |c 24 cm | ||
| 300 | |a xiv, 788 pages, 16 unnumbered pages of plates : |b illustrations ; |c 24 cm | ||
| 300 | |a xiv, 788 pages, 16 unnumbered pages of plates : |b illustrations ; |c 25 cm | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a unmediated |b n |2 rdamedia | ||
| 338 | |a volume |b nc |2 rdacarrier | ||
| 500 | |a This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC |5 CTY | ||
| 504 | |a Includes bibliographical references (p. [733]-755) and index | ||
| 504 | |a Includes bibliographical references (p. [733]-755), filmography (p. [731]-732) and index | ||
| 504 | |a Includes bibliographical references (pages 733-755) and index | ||
| 504 | |a Includes bibliographical references (pages [733]-755) and index | ||
| 504 | |a Includes bibliographical references (pages [733]-755), filmography and index | ||
| 504 | |a Includes bibliographical references and index | ||
| 504 | |a Includes filmography: p. [731]-732 | ||
| 504 | |a Includes filmography: pages 731-732 | ||
| 504 | |a Includes filmography: pages [731]-732 | ||
| 505 | 0 | |a Introduction: The culture war -- pt. 1. Marking the territory. Propaganda wars and cultural treaties -- The gladiatorial exhibition -- pt. 2. Stage and screen wars: Russians and America. Broadway dead, says Soviet critic -- The Russian question: a Russian play -- Soviet cinema under Stalin -- Hollywood: the Red Menace -- Witch hunts: Losey, Kazan, Miller -- Soviet cinema: the new wave -- pt. 3. Stage and screen wars: Europe. Germany divided: stage and screen -- Brecht and the Berliner Ensemble -- Dirty Hands: the political theatre of Sartre and Camus -- Squaring the circle: Ionesco, Beckett, Havel, Stoppard -- Andrzej Wajda: Ashes and diamonds, marble and iron -- pt. 4. Music and ballet wars. Classical music wars -- Shostakovich's Testimony -- All that jazz: Iron Curtain calls -- The ballet dancer defects -- pt. 5. Art wars. Stalinist art: Tractor drivers' supper -- Passports for paintings: abstract expressionism and the CIA -- Picasso and communist art in France -- The other Russia: pictures by "jackasses' | |
| 505 | 0 | 0 | |a note: |t Introduction: The Culture War -- |g Pt. I |t Marking the Territory -- |g 1 |t Propaganda Wars and Cultural Treaties -- |g 2. |t Gladiatorial Exhibition -- |g Pt. II |t Stage and Screen Wars: Russia and America -- |g 3. |t Broadway Dead, Says Soviet Critic -- |g 4. |t Russian Question: A Russian Play -- |g 5. |t Soviet Cinema Under Stalin -- |g 6. |t Hollywood: The Red Menace -- |g 7. |t Witch Hunts: Losey, Kazan, Miller -- |g 8. |t Soviet Cinema: The New Wave -- |g Pt. III |t Stage and Screen Wars: Europe -- |g 9. |t Germany Divided: Stage and Screen -- |g 10. |t Brecht and the Berliner Ensemble -- |g 11. |t Dirty Hands: The Political Theatre of Sartre and Camus -- |g 12. |t Squaring the Circle: Ionesco, Beckett, Havel, Stoppard -- |g 13. |t Andrzej Wajda: Ashes and Diamonds, Marble and Iron -- |g Pt. IV |t Music and Ballet Wars -- |g 14. |t Classical Music Wars -- |g 15. |t Shostakovich's Testimony -- |g 16. |t All That Jazz: Iron Curtain Calls -- |g 17. |t Ballet Dancer Defects -- |g Pt. V |t Art Wars -- |g 18. |t Stalinist Art: Tractor Drivers' Supper -- |g 19. |t Passports for Paintings: Abstract Expressionism and the CIA -- |g 20. |t Picasso and Communist Art in France -- |g 21. |t Other Russia: Pictures by 'Jackasses'. |
| 505 | 0 | 0 | |t Introduction: The Culture War -- |g Pt. I |t Marking the Territory -- |g 1. |t Propaganda Wars and Cultural Treaties -- |g 2. |t The Gladiatorial Exhibition -- |g Pt. II. |t Stage and Screen Wars: Russia and America -- |g 3. |t Broadway Dead, Says Soviet Critic -- |g 4. |t The Russian Question: A Russian Play -- |g 5. |t Soviet Cinema Under Stalin -- |g 6. |t Hollywood: The Red Menace -- |g 7. |t Witch Hunts: Losey, Kazan, Miller -- |g 8. |t Soviet Cinema: The New Wave -- |g Pt. III. |t Stage and Screen Wars: Europe -- |g 9. |t Germany Divided: Stage and Screen -- |g 10. |t Brecht and the Berliner Ensemble -- |g 11. |t Dirty Hands: The Political Theatre of Sartre and Camus -- |g 12. |t Squaring the Circle: Ionesco, Beckett, Havel, Stoppard -- |g 13. |t Andrzej Wajda: Ashes and Diamonds, Marble and Iron -- |g Pt. IV. |t Music and Ballet Wars -- |g 14. |t Classical Music Wars -- |g 15. |t Shostakovich's Testimony -- |g 16. |t All That Jazz: Iron Curtain Calls -- |g 17. |t The Ballet Dancer Defects -- |g Pt. V. |t Art Wars -- |g 18. |t Stalinist Art: Tractor Drivers' Supper -- |g 19. |t Passports for Paintings: Abstract Expressionism and the CIA -- |g 20. |t Picasso and Communist Art in France -- |g 21. |t The Other Russia: Pictures by 'Jackasses'. |
| 505 | 0 | 0 | |t Introduction: The Culture War |g 1 -- |g Part I |t Marking the Territory |g 17 -- |g 1. |t Propaganda Wars and Cultural Treaties |g 19 -- |g 2. |t The Gladiatorial Exhibition |g 33 -- |g Part II. |t Stage and Screen Wars: Russia and America |g 53 -- |g 3. |t Broadway Dead, Says Soviet Critic |g 55 -- |g 4. |t The Russian Question: A Russian Play |g 88 -- |g 5. |t Soviet Cinema Under Stalin |g 117 -- |g 6. |t Hollywood: The Red Menace |g 160 -- |g 7. |t Witch Hunts: Losey, Kazan, Miller |g 192 -- |g 8. |t Soviet Cinema: The New Wave |g 219 -- |g Part III. |t Stage and Screen Wars: Europe |g 247 -- |g 9. |t Germany Divided: Stage and Screen |g 249 -- |g 10. |t Brecht and the Berliner Ensemble |g 271 -- |g 11. |t Dirty Hands: The Political Theatre of Sartre and Camus |g 306 -- |g 12. |t Squaring the Circle: Ionesco, Beckett, Havel, Stoppard |g 337 -- |g 13. |t Andrzej Wajda: Ashes and Diamonds, Marble and Iron |g 365 -- |g Part IV. |t Music and Ballet Wars |g 377 -- |g 14. |t Classical Music Wars |g 379 -- |g 15. |t Shostakovich's Testimony |g 415 -- |g 16. |t All That Jazz: Iron Curtain Calls |g 441 -- |g 17. |t The Ballet Dancer Defects |g 468 -- |g Part V. |t Art Wars |g 507 -- |g 18. |t Stalinist Art: Tractor Drivers' Supper |g 509 -- |g 19. |t Passports for Paintings: Abstract Expressionism and the CIA |g 539 -- |g 20. |t Picasso and Communist Art in France |g 568 -- |g 21. |t The Other Russia: Pictures by 'Jackasses' |g 589. |
| 520 | |a The Cultural Cold War between the Soviet Union and the West was without precedent or parallel. At the outset of this original and wide-ranging historical survey, David Caute establishes the nature of the extraordinary cultural competition set up post-1945 between Moscow, New York, London, and Paris, with the most intimate frontier war staged in the city of Berlin. The author of The Fellow-Travellers and The Great Fear explores the cultural Cold War as it rapidly penetrated theatre, film, classical music, popular music, ballet, painting, and sculpture, as well as propaganda by exhibition. Major figures central to Cold War conflict in the theatre include Brecht, Miller, Sartre, Camus, Havel, Ionesco, Stoppard, and Konstantin Simonov. Among leading film directors involved were Eisenstein, Romm, Chiarueli, Aleksandrov, Kazan, Tarkovsky, and Wajda | ||
| 520 | |a The cultural Cold War between the Soviet Union and the West was without precedent. At the outset of this original and wide-ranging historical survey, David Caute establishes the nature of the extraordinary cultural competition set up post-1945 between Moscow, New York, London and Paris, with the most intimate frontier war staged in the city of Berlin. Using sources in four languages, Caute explores the cultural Cold War as it rapidly penetrated theatre, film, classical music, popular music, ballet, painting and sculpture, as well as propaganda by exhibition. Artists such as Miller, Picasso, Eisenstein, Shostakovich, and Stravinsky became involved in this fierce cultural competition through which each of the major Cold War protagonists sought to establish their supremacy. Caute challenges some recent, one-dimensional, American accounts of 'Cold War culture', which ignore not only the Soviet performance but virtually any cultural activity outside the USA. The West presented its cultural avant-garde as evidence of liberty, even through monochrome canvases and dodecaphonic music appealed only to a minority audience. Soviet artistic standards and teaching levels were exceptionally high, but the fear of freedom and innovation virtually guaranteed the moral defeat which accelerated the collapse of the Soviet Union | ||
| 520 | 8 | |a In the field of music, the Soviet Union in the Zhdanov era vigorously condemned 'modernism', 'formalism', and the avant-garde. A chapter is devoted to the intriguing case of Dmitri Shostakovich, and the disputed authenticity of his 'autobiography' Testimony. Meanwhile in the West the Congress for Cultural Freedom was sponsoring the modernist composers most vehemently condemned by Soviet music critics, notably Stravinsky. The Soviet Party was unable to check the appeal of jazz on the Voice of America, then rock music, to young Russians. Visits to the West by the Bolshoi and Kirov ballet companies were fraught with threats of cancellation and the danger of defection. Caute dampens overheated speculations about KGB plots to injure Rudolf Nureyev and other defecting dancers | |
| 520 | 8 | |a Turning to painting, where socialist realism prevailed in the USSR and dissident art was often brutally repressed, Caute explores the paradox of Picasso's membership of the French Communist Party. Reassessing the extent of covert CIA patronage of abstract expressionist artists like Jackson Pollock, Caute finds that the CIA's role has been much exaggerated. He also challenges some recent accounts of 'Cold War culture', which virtually ignore the Soviet performance and cultural activity outside the USA. Soviet artistic standards and teaching levels were exceptionally high, but the regime's endemic fear of free innovation finally accelerated its collapse | |
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| 999 | 1 | 1 | |l 6344322 |s ISIL:US-CTY |t BKS |a sml |b 39002069020809 |c E169.12 .C345X 2003 (LC) |g 0 |v 1 piece |x circ |y 5561218 |p LOANABLE |
| 999 | 1 | 1 | |l 4963259 |s ISIL:US-ICU |t BKS |a JRL-Gen |b 65133126 |c E169.12 .C38 2003 |d Library of Congress classification |y 7527152 |p LOANABLE |
| 999 | 1 | 1 | |l 990012501440106761 |s ISIL:US-MCM |t BKS |a HUM STACK |b 39080026385531 |c E169.12.C345 2003 |d 0 |x BOOK |y 23478090840006761 |p LOANABLE |
| 999 | 1 | 1 | |l 991025881849707861 |s ISIL:US-MDBJ |t BKS |a LSC shmoffs |b 31151022865905 |c E169.12.C36 2003 |d 0 |x jhbooks |y 23411173170007861 |p LOANABLE |
| 999 | 1 | 1 | |l 990091890310203941 |s ISIL:US-MH |t BKS |a WID WIDLC |b 32044070961321 |c E169.12 .C36 2003x |d 0 |x 01 BOOK |y 232069715530003941 |p LOANABLE |
| 999 | 1 | 1 | |l 990032770230108501 |s ISIL:US-NCD |t BKS |a PERKN PK |b D02721477U |c E169.12 .C36 2003 |d 0 |x BOOK |y 23770877210008501 |p LOANABLE |
| 999 | 1 | 1 | |l 991027185539705706 |s ISIL:US-NHD |t BKS |a BAKER STACKS |b 33311020705432 |c E169.12 .C36 2003 |d 0 |x BOOK |y 23187071540005706 |p LOANABLE |
| 999 | 1 | 1 | |l 4961184 |s ISIL:US-NIC |t BKS |a olin |b 31924098181336 |c E169.12 .C36 2003 |d lc |k 1 |x Book |y a6f8d5cc-1144-466f-bc00-3436553e552c |p LOANABLE |
| 999 | 1 | 1 | |l 9939586393506421 |s ISIL:US-NJP |t BKS |a firestone stacks |b 32101048236655 |c D857 .C387 2003 |d 0 |x Gen |y 23554513300006421 |p LOANABLE |
| 999 | 1 | 1 | |l 9939586393506421 |s ISIL:US-NJP |t BKS |a marquand stacks |b 32101051786869 |c D857 .C387 2003 |d 0 |x Closed |y 23554513280006421 |p UNLOANABLE |
| 999 | 1 | 1 | |l 4138183 |s ISIL:US-NNC |t BKS |a glx |b 0062926306 |c D843 .C38 2003g |y 4218374 |p LOANABLE |
| 999 | 1 | 1 | |l 4138183 |s ISIL:US-NNC |t BKS |a glx |b 0065180364 |c D843 .C38 2003g |y 5787376 |p LOANABLE |
| 999 | 1 | 1 | |l 9934850033503681 |s ISIL:US-PU |t BKS |a VanPeltLib vanp |b 31198037547788 |c E169.12 .C36 2003 |d 0 |x BOOK |y 23291707100003681 |p LOANABLE |
| 999 | 1 | 1 | |l 991038364299706966 |s ISIL:US-RPB |t BKS |a ROCK STACKS |b 31236100598047 |c E169.12 .C36x 2003 |d 0 |y 23293345620006966 |p LOANABLE |