![]() The juxtaposition invites us to re-evaluate the dilemmas of the Russian nobles, contrasting them with more existential struggles. As the evening progresses, however, the two narratives increasingly overlap. ![]() The most unusual thing about Oliver Frljic’s new production of Tolstoy’s “Anna Karenina” at the Maxim Gorki Theater isn’t that its heroine, perhaps the most famous of literary suicides, doesn’t hurl herself in front of an oncoming train at the end: It’s that along with her glittering society, she shares the stage with the lowly protagonists of another novel by a 19th-century Russian writer, Dostoyevsky’s “Poor Folk.”Īt first, the idea seems merely to depict Russian society from opposite ends. Stage adaptations of novels are extremely common in German theaters, where the dividing line between literary genres can be porous and where fidelity to the text is hardly a cardinal virtue. In Berlin this season, several new productions take on sprawling literary works, trimming them to manageable lengths while still capturing the thrill of their vast, imaginary universes. ![]() BERLIN - “Loose, baggy monsters” is how Henry James famously described the long and unruly novels of the 19th century. ![]()
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