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

我在日本俄罗斯语言文学研究协会年会上发表的演讲《伊万·皮尔耶夫的库班·哥萨克作品中战后科尔霍兹的表现》，重点介绍了皮尔耶夫1949年的电影中田野工作的表现。他以前的电影通过描绘日常工作中的斗争来表达苏联的意识形态，而库班·哥萨克的特点是在展会上表现出有趣的元素，以一种象征性的方式进行实地考察，从而暗示了一个乌托邦社会的实现。我的论文《伊万·皮尔耶夫未实现的计划中可怕的人物》分析了RGALI中保存的关于皮尔耶夫鲜为人知的沙皇场景的档案材料。这篇文章展示了皮尔耶夫在他的计划中的目标，即描绘一个比S·艾森斯坦笔下的英雄更适合苏联文化规范的新英雄。

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.