J. Douglas Clayton. Pierrot in P e t r o g r a d : The C o m m e d i a d e l l ' a r t e / B a l a g a n in Twentieth-Century Russian Theatre a n d Drama. M o n t r e a l a n d Kingston: McGill-Queen's University Press, 1993. xviii, 3 6 9 pp. $ 4 9 . 9 5 Cdn. Both the title and subtitle of J. Douglas Clayton's very informative and wide-ranging account of the commedia dell'arte and popular theatrical motifs during one of the most colorful and richly creative periods in Russian culture are somewhat misleading, for his discussion ends with Bulgakov's h9atiere (1936) and makes no mention of later commedialbalagan texts, such as Li- udmilia Petrushevskaia's Columbine's AparPmer2t (1981), to name just one. Although the em- phasis of the book is ostensibly on Pierrot, it is the Harlequin who figures more prominently in Clayton's study, and his motley patchwork costume is reflected in the book's multi-faceted composition. The concern of the Prologue is an examination of commedia dell'arte within the traditional context of "high culture," which in Russia
Canadian-American Slavic Studies – Brill
Published: Jan 1, 1996
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