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Bewitching Russian OperaThe Tsarina from State to Stage$
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Inna Naroditskaya

Print publication date: 2011

Print ISBN-13: 9780195340587

Published to Oxford Scholarship Online: January 2012

DOI: 10.1093/acprof:oso/9780195340587.001.0001

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The Play of PossibilitiesSerfs Enacting Aristocrats, Countesses Playing Peasants

The Play of PossibilitiesSerfs Enacting Aristocrats, Countesses Playing Peasants

Chapter:
2 The Play of PossibilitiesSerfs Enacting Aristocrats, Countesses Playing Peasants
Source:
Bewitching Russian Opera
Author(s):

Inna Naroditskaya

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195340587.003.0022

The image of Aniuta (likely from French Annette) proliferated the eighteenth-century Russian comic operas, played in private theatres by serfs troupes and aristocratic dilettantes. These comic operas revealed three types of social cross-dressing: 1) in operatic plots, a countess could be disguised as a shepherdess; a peasant heroine might rediscover her aristocratic origin; 2) a real princess or countess could play a rustic girl, imitating her accent and manners; a young beautiful serf actress impersonated a noble matron; and 3) social transgression spilled from the stage to a real life when actors or aristocrats attempted to navigate across polar social divides. One particular case that relates to all three levels of cross-dressing is the story of the serf actress Parasha Zhemchugova and the owner of a famous serf troupe and the actress, a member of one of the prominent families, Count Nikolai Sheremetev. Strong social and gender biases and at the same time a certain ambivalences and “dangerous” possibilities associated with the culture of masquerade illuminate the sensibilities of late eighteenth century Russia, as reflected in sentimental and comic operas and in figures such as Prince Ivan Dolgorukov.

Keywords:   serfs, serf actress, private theatre, cross-dressing, transgression, comic opera, sentimental opera, aristocratic dilettantes

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