Ivan Pyr'ev and Rural Musical Comedies in the Soviet Union of the Stalin Era

我在日本俄罗斯语言和文学研究协会年会上的报告，“伊万·皮尔耶夫《库班哥萨克》中战后集体农庄的表现”，集中讨论了皮尔耶夫1949年电影中田野调查的表现。他之前的电影通过描绘日常工作中的斗争来表达苏联意识形态，而库班哥萨克则以集市上的娱乐元素为特征，以象征的方式进行田野调查，从而暗示乌托邦社会的实现。我的论文《皮耶夫未实现的计划中的伊凡雷帝的形象》分析了保存在RGALI的档案材料，分析了皮耶夫鲜为人知的沙皇场景。本文表明，与爱森斯坦的英雄形象不同，皮尔耶夫想要塑造一个更符合苏联文化规范的新英雄形象。

My presentation at the annual meeting of the Japan Association for the Study of Russian Language and Literature, "The Representations of the Post-War Kolkhoz in Ivan Pyr'ev's Kuban Cossacks," focused on the representations of fieldwork in Pyr'ev's 1949 film. While his former films express Soviet ideology by depicting struggles in everyday work, Kuban Cossacks is characterized by amusing elements at the fair, with fieldwork undertaken in a symbolized manner, thus suggesting the realization of a utopian society.My paper "The Figure of Ivan the Terrible in an Unrealized Project of I. Pyr'ev" analyzes archival materials kept in the RGALI on Pyr'ev's little-known scenario of the Tzar. This paper shows Pyr'ev's aim in his plan to depict a new hero who was more suited, in contrast to S. Eisenstein's hero, to the norms of Soviet culture.