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The Poetics and Aesthetics of Otherness

Orientalism and Identity at Abramtsevo

Maria Taroutina

“Orient,” no doubt conditioned and mediated by the artist’s own reading of the One Thousand and One Nights , where magic and the supernatural abound. 23 Consequently, the ostensibly Neo-national works of Repin, Vasnetsov, and Vrubel were not simply straightforward adaptations of Slavic folklore, but


the ballet, we deconstructed its elements - music, choreography, and design. Thus, we dis- covered exactly how each element depends upon the others. In reconstructing the elements, we also found ourselves recreating the ballet by making neces- sary adaptations in the historical work to the material


between rhythm and meter in Symbolist poetry, on syncopation in the music of Nikolai Roslavets and Igor Stravinsky, and on the adaptation of motobio to mechanical vehicles such as automobiles and airplanes. However, some idea of the universality of motobio as the common de- nominator of material and


to dominate the scene. Given the popularity of Evreinov's and Geier's plays, there were many other caba- rets that picked up the monodrama, and Vladimir Maiakovsky's self named Tragedy was an adaptation of the form to his poetry. Benedikt Livshits, friend and fellow Futurist, remarked that the play


"autonomy of art" and "autonomy of the individual arts," but in a broader sense. An autonomous work of art implies not only that it was generated by means of an "autonomous" act of creation and is perceived through an autonomous esthetic perception, but that the adaptation of the work to non


already enjoyed two successful years with his showcase of Russian ballet and opera. In addition to longer works such as Narcisse, Petrouchka and Swan Lake, choreographer Michel Fokine now designed the brief scene entitled La Spectre de la Rose, using Jean-Louis Vaudoy- er's adaptation of a poem by