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Black Snow
 
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Black Snow [Paperback]

Keith Reddin
4.0 out of 5 stars  See all reviews (3 customer reviews)

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Paperback CDN $11.95  
Paperback, October 1993 --  

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To those living in the West, the Russian writer Mikhail Bulgakov is known as a fiction writer, his reputation resting largely on his greatly-loved novel The Master and Margarita. During his life in the Soviet Union (1891-1940), however, Bulgakov's biggest career successes came as a playwright in the immensely influential Moscow theater. The novel Black Snow, is Bulgakov's lampoon of that entire pre-war Russian drama scene, complete with a fictional version of his nemesis, the great Stanislavsky (of method acting fame). The book is a writer's story about hapless Maxuduv, an unlucky author (not unlike Bulgakov himself) who is torn apart under the insane forces, overcooked egos, and political machinations that rumbled through the world of the theater at that time. --This text refers to an out of print or unavailable edition of this title.

Review

A masterpiece of black comedy Irish Times The novel moves with mad exuberance Independent Bulgakov, the first magical realist-is regarded as the Soviet writer who made the strongest impact on twentieth-century Western fiction Irish Times A writer of fantastic genius Sunday Times --This text refers to an alternate Paperback edition.

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4.0 out of 5 stars (3 customer reviews)
 
 
 
 
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5.0 out of 5 stars Some clarification, Aug 8 2002
By 
Vasya Ozerov (Trieste, Italy) - See all my reviews
This review is from: Black Snow (Paperback)
Translation of the name of the book is chosen badly.
It is 'Teatral'nyi roman' - not 'Black Snow'!
The latter is the name of the novel which gets written by the narrator and plays an auxiliary role in the story (it is of course a paraphrase on the 'White Guard' - the image of a man running on the snow away from the horsemen is from there).
In part, the subject of 'Teatral'nyi roman' is theatre - theatre which enchants the narrator.

It is the most fluent and polished of all Bulgakov novels, though unfinished; judging by the reviews of the english speakers, the translation apparently lost that virtue.

About its being 'critical of Stanislavsky'. This is simply not the point, although I can understand the English reader, who tries to find some known landmarks. Of course Bulgakov ironizing on behalf of the actors, their ethiquette and life in the theatre, but this just serves to depict the theatre charm.
As the description of the golden horse on the empty scene which Maksudov sees when he first enters the building of the Independent Theatre.

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3.0 out of 5 stars Interesting and disappointing, Aug 20 2000
By 
M. J. Smith (Seattle, WA USA) - See all my reviews
(REAL NAME)   
This review is from: Black Snow (Paperback)
Black Snow is a satirical retelling of Bulgakov's experiences in writing his first novel and play and working with the theater in Moscow. This volume has a forward which identifies some of the fictional names with the actual names of the individuals portrayed.

Unlike Bulgakov's other novels, this could occasionally improve by editing - a third of a page of jobs constituting all of humanity is a bit much. The characters are in general very specific personalities in which Bulgakov assumes that character recognition relieves him of the duty to provide fully fleshed out characters.

On the flip side, the novel is an amusing and telling romp through the hidden side of theater and Bulgakov's humorous skill is unscathed by the novel's shortcomings. Even well-worn humor such as mistaken names becomes fresh in Bulgadov's hands.

I recommend this book to theater and Bulgakov junkies; for others I would neither encourage nor discourage you from picking up the volume.

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4.0 out of 5 stars The preoccupations & pretensions of The Russian Art Faculty, Aug 2 1999
This review is from: Black Snow (Paperback)
Here I found (finally) insight to the mysterious entity of the Moscow Art Theatre in all its glory... Bulgakov's cynical and foreboding portrayal of Stan the Man and Co. is an indisposable contradiction from his role as insider and passive viewer of modern theatre's roots.
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