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“I'm on My Way to a Heav'nly Lan’”: Porgy and Bess as American Religious Export to the USSR
Journal of the Society for American Music Pub Date : 2021-05-04 , DOI: 10.1017/s1752196321000018 LENA LESON
Journal of the Society for American Music Pub Date : 2021-05-04 , DOI: 10.1017/s1752196321000018 LENA LESON
Scholars have explored the use of Breen-Davis's Porgy and Bess and its stellar ensemble cast to counter Soviet criticism of US race relations during the Cold War—but an equally prominent theme in contemporary coverage of the production is spirituality. Onstage as well as off, the Soviet tour of Porgy and Bess reflected both American and Soviet ideas about religion's role in international diplomacy in the mid-1950s. This article explores religiosity in the Breen-Davis production as well as the reception of the 1955–56 Soviet tour both in the United States, where the production represented a hopeful vision of the nation's racial tolerance and religious pluralism, and in the USSR, where the tour's twin messages of American spiritual superiority and racial equality were challenged by Soviet authorities. Drawing on materials from the Robert Breen Archives housed in the Jerome Lawrence and Robert Lee Theatre Research Institute at Ohio State University, this article considers Breen-Davis's Porgy and Bess as a religious export to the USSR, enriching our understanding of US cultural diplomacy and Cold War–era musical exchange with broader implications for American–Soviet history, religious studies, and opera analysis.
中文翻译:
“我正在通往天堂的路上”:波吉和贝丝作为美国对苏联的宗教出口
学者们探索了 Breen-Davis 的使用波吉和贝丝 以及它的明星合奏,以反驳冷战期间苏联对美国种族关系的批评——但当代报道中同样突出的主题是灵性。台上台下,苏联巡演波吉和贝丝 反映了美国和苏联关于宗教在 1950 年代中期国际外交中的作用的观点。本文探讨了布林-戴维斯作品中的宗教信仰以及 1955-56 年苏联巡回演出在美国和苏联的接受情况巡回演出的美国精神优越和种族平等的双重信息受到苏联当局的挑战。本文借鉴俄亥俄州立大学杰罗姆·劳伦斯和罗伯特·李剧院研究所的罗伯特·布林档案馆的资料,考虑了布林-戴维斯的波吉和贝丝 作为对苏联的宗教出口,丰富了我们对美国文化外交和冷战时期音乐交流的理解,对美苏历史、宗教研究和歌剧分析产生了更广泛的影响。
更新日期:2021-05-04
中文翻译:
“我正在通往天堂的路上”:波吉和贝丝作为美国对苏联的宗教出口
学者们探索了 Breen-Davis 的使用