TABLE OF CONTENTS...Nellhaus, typed manuscript, 65 pp. 20 - Christopher Hein: The Knights of the Round Table (A Comedy) (Die Ritter der Tafelrunde: Eine Komodie), translated by David

University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections

NOT TO BE USED FOR PUBLICATION

MS221-Felicia Londré Manuscripts Collection 1

TABLE OF CONTENTS

Biographical Sketch ………………………………………………………………………… 2

Scope and Content ………………………………………………………………………… 3

Series Notes ………………………………………………………………………………… 3

Container List ………………………………………………………………………………… 4

Series I: Plays ………………………………………………………………………… 4

A: American ………………………………………………………………… 4

B: Danish ………………………………………………………………… 4

C: Finnish ………………………………………………………………… 5

D: French ………………………………………………………………… 5

E: German ………………………………………………………………… 5

F: Hungarian ………………………………………………………………… 6

G: Icelandic ………………………………………………………………… 6

H: Norwegian ………………………………………………………………… 6

I: Polish ………………………………………………………………… 7

J: Russian ………………………………………………………………… 7

K: Swedish ………………………………………………………………… 8

Series II: Other Documents ………………………………………………………… 9

A: Correspondence ………………………………………………………… 9

B: Newspaper Clippings ………………………………………………… 10

C: Articles ………………………………………………………………… 10

D: Miscellaneous ………………………………………………………… 10

Appendix: Biographical Information and Play Descriptions ………………………… 11

A: American ………………………………………………………………… 11

B: Danish ………………………………………………………………… 12

C: Finnish ………………………………………………………………… 14

D: French ………………………………………………………………… 17

E: German ………………………………………………………………… 17

F: Hungarian ………………………………………………………………… 18

G: Icelandic ………………………………………………………………… 19

H: Norwegian ………………………………………………………………… 21

I: Polish ………………………………………………………………… 24

J: Russian ………………………………………………………………… 27

K: Swedish ………………………………………………………………… 33




BIOGRAPHICAL SKETCH

Dr. Felicia Hardison Londré is a theatre historian specializing in American, French, and Russian

theatre plus Shakespeare. She is honorary co-founder of the Heart of America Shakespeare

Festival and dramaturg for Nebraska Shakespeare Festival. In 2006 she received the Inspirational

UMKC Faculty award. In 1998 she received a University of Montana Distinguished Alumna

Award, having earned her B.A. in French there. She earned her M.A. at the University of

Washington, and her Ph.D. at the University of Wisconsin. In 1999, she was inducted into the

College of Fellows of the American Theatre at the Kennedy Center in Washington D.C., and has

served as secretary of the board. In 2001, she was elected to the National Theatre Conference.

That year she also received the Association for Theatre in Higher Education's national award for

2001 as Outstanding Teacher of Theatre in Higher Education. She was the founding secretary of

the Shakespeare Theatre Association of America, and has served as president of the American

Theatre and Drama Society. Dr. Londré has held visiting professorships at Hosei University in

Tokyo and at Marquette University in Milwaukee. She has lectured internationally, including

Beijing, Nanjing, Tokyo, Osaka, Venice, Rouen, Caen, Paris (Sorbonne), Brussels, Moscow, and

a lecture tour of Hungary. For 22 years (1978-2000), she was dramaturg for Missouri Repertory

Theatre. Of her fourteen books, her favorite is the twelfth one, The Enchanted Years of the

Stage: Kansas City at the Crossroads of American Theatre, 1870-1930, which won the George

Freedley Memorial Book Award presented by the Theatre Library Association in 2008.

Source:

“Dr. Felicia Hardison Londré” [Faculty Bios]. UMKC Theatre. University of Missouri-Kansas

City, 2012. Web. 8 Dec. 2012. http://www.umkctheatre.org/faculty_bios.html#londre

http://www.umkctheatre.org/faculty_bios.html#londre




SCOPE AND CONTENT

The Felicia Londré Manuscripts Collection was a gift of Felicia Londré in Fall 2012. Contained

within is a large collection of scripts, in typed, printed, and published (photocopied) manuscript

form, almost all in either English or in English translation. American, Danish, Finnish, French,

German, Hungarian, Icelandic, Norwegian, Polish, Russian, and Swedish playwrights are

represented, offering a wide range of styles and aesthetics. Also contained in the collection is an

assortment of correspondence, articles, and other documents relating to the acquisition of these

manuscripts and matters concerning the theatre.

SERIES NOTES

SERIES I: Plays Located in box 1, folders 1-37, and box 2, folders 1-38; contains typed, photocopied, and printed

scripts of plays by a variety of American, Danish, Finnish, French, German, Hungarian,

Icelandic, Norwegian, Polish, Russian, and Swedish playwrights. All of the non-American works

in this collection are here in English translations, apart from one of the Russian plays, which is in

the original Russian. The Danish, Finnish, Icelandic, Norwegian, and Swedish collections are

notable for being largely contemporary works, rarely if ever performed in the United States.

SERIES II: Other Documents Located in box 2, folders 39-41; contains some correspondence to Londré regarding the

acquisition of these manuscripts, as well as some articles and other documents related to the

theatre.



Box Folder Description


CONTAINER LIST

SERIES I: PLAYS


A: American

1 1 - Maxwell Anderson: Night Over Taos, typed manuscript, 71 pp. w/

inserts.

2 - Robert Anderson: The Days Between, typed manuscript, 89 pp.

3 - James Costin: Harry, typed manuscript, 34 pp.

4 - Robert Dean: Ivan the Terrible (A Chronicle Tragedy in Three Acts),

typed manuscript, 153 pp.

5 - Cena Christopher Draper and Maurice Nugent: Summer Flight,

adapted from the novel Papa Says by Cena Christopher Draper,


6 - Kevin O’Morrison: Ladyhouse Blues, typed manuscript (American

Playwrights Theatre Edition), 91 pp.

7 - Josephine Peabody: The Piper (A Play in 4 Acts), typed manuscript, 53

pp.

8 - Louise Saunders: The Knave of Hearts, typed manuscript, 21 pp.

B: Danish

9 Contemporary Danish Drama: Four Danish Playwrights (205 pp.):

- Astrid Saalbach: Blessed Child (A Comedy), translated from the

Danish by Michael Evans.

- Erling Jepsen: The Man Who Asked for Permission to Exist (A

Stage Play in Three Pictures), translated from the Danish by Claes

Johansen.

- Line Knutzon: First You’re Born, translated from the Danish by

Charlotte Barslund & Kim Dambaek.

- Peter Asmussen: A Sunny Room, translated from the Danish by

Russel Dees.

10 - Erling Jespen: The Cure (Kuren), translator unknown, Nordiska

Strakosch Teaterforlaget Edition, 77 pp.

11 - Erling Jepsen: The Man Who Asked for Permission to Exist (A Stage

Play in Three Pictures) (Manden Som Bad Om Lov Til At Vaere

Her Pa), translated from the Danish by Claes Johansen, Nordiska


12 - Line Knutzon: First You’re Born (Forst Bli’r Man Jo Fodt), translated

by Charlotte Barslund & Kin Dambaek, Nordiska Strakosch

Teaterforlaget Edition, 43 pp.





1 13 - Line Knutzon: The Time is Coming (Snart Kommer Tidem), translated

by Gaye Kynoch, Nordiska Strakosch Teaterforlaget Edition, 93

pp.

14 - Astrid Saalbach: Ashes to Ashes, Dust to Dust (Aske Til Aske Stov Til

Stov), translated by Gaye Kynoch, Nordiska Strakosch


15 - Astrid Saalbach: Blessed Child (A Comedy) (Det Velsignede Barn),

translated from the Danish by Michael Evans, Nordiska Strakosch


16 - Thomas Vinterberg & Mogens Rukov: The Celebration, Theatre Play

Version, Adaptation from the film screenplay by Bo hr. Hansen,

Nordiska Strakosch Teaterforlaget Edition, 76 pp.

C: Finnish

17 Contemporary Finnish Drama: Five Finnish Playwrights (390 pp.):

- Michael Baran: You Don’t Know What Love Is, translated by

Eva Buchwald.

- Anne Koski: Best Loved Songs and Melodies, translated from the

Finnish by Ritva Poom.

- Juha Lehtola: Mind Speak, translated from the Finnish by Eva

Buchwald.

- Juha Siltanen: Foxtrot, or The White Shadows, translated from

the Finnish by Anselm Hollo.

- Laura Ruohonen: Olga, translated from the Finnish by Anselm

Hollo.

D: French

18 - Jean Racine: Andromache, verse translation by William L. Crain,

Professor of French Language and Literature, University of

Missouri at Kansas City, typed manuscript, 84 pp.

E: German

19 - Bertolt Brecht: Puntila and His Hired Man, new adaptation by Gerhard

Nellhaus, typed manuscript, 65 pp.

20 - Christopher Hein: The Knights of the Round Table (A Comedy) (Die

Ritter der Tafelrunde: Eine Komodie), translated by David W.

Robinson, typed manuscript, 54 pp.

21 - Carl Orff: Agnes Bernauer, authorized English adaptation by Fritz

Andre Kracht, typed manuscript w/ rehearsal schedule, 42 pp.





F: Hungarian

1 22 - Iren Kiss: I Dreamed a City (A Drama), translated from the Hungarian

by Philip Balla and Laszlo Tabori, typed manuscript, 63 pp.

23 - Peter Nadas: Encounter (Talalkozeis), translated by Judith E. Sollosy,

Artisjus Agence Litteraire, Theatrale et de Musique Edition, 93 pp.

24 - Peter Nadas: Housecleaning (Comedy Without a Break), translated by

Judith E. Sollosy, Artisjus Agence Litteraire, Theatrale et de

Musique Edition, 62 pp.

25 - Gyorgy Schwajda: Anthem (A Comedy in One Act), translated by Judith

Raphael Buckrich, Artusjus Agence Litteraire, Theatrale et de


26 - Gyorgy Spiro: Chicken Head (A Tragedy), translated by Eugene

Brogyanyi, Artusjus Agence Litteraire, Theatrale et de Musique

Edition, 100 pp.

27 - Gyorgy Spiro: The Imposter (A Comedy in Three Acts), English version

by J.E. Sollosy, Artisjus Agence Litteraire, Theatrale et de


G: Icelandic

28 Contemporary Icelandic Drama: Five Icelandic Playwrights (239 pp.):

- Hrafnhildur Hagalin Guomundsdottir: Easy Now, Electra.

- Arni Ibsen: Heaven: A Schizophrenic Comedy (Draft

Translation).

- Olaf Olaffson: A Feast of Snails.

- Olafu Haukur Simonarson: The Sea, translated by Bernard

Scudder.

- Thorvaldur Thorastr: Talespin, English Translation by Aida

Sigimundsdotottir.

H: Norwegian

29 Contemporary Norwegian Drama: Five Norwegian Playwrights (271 pp.):

- Jon Fosse: The Name, translated by Gregory Motton.

- Finn Iunker: The Answering Machine.

- Cecilie Loeveid: “Austria” – A Pastiche, translated by Ann

Henning Jocelyn.

- A.I.S. Lygre: Sudden Eternity, translated by Benedicte Waaler.

- Petter S. Rosenlund: An Impossible Boy, translated by Charlotte

Barslund & Kim Dambaek.

30 - Axel Hellstenius: Elling, translated by Nicholas Norris, Nordiska


31 - Henrik Ibsen: An Enemy of the People, translator unknown, typed

manuscript, 109 pp.





I: Polish

1 32 - E.J. Czerwinski: I Am Innokenty (The Hell of Solzhenitsyn), typed

manuscript, 27 pp.

33 - Witold Gombrowicz: The Marriage, translated from the Polish by Louis

Iribarne, photocopy of published script, 158 pp.

34 - Witold Gombrowicz: Operetta, translated by Louis Iribarne, photocopy

of published script, 109 pp.

35 - Ireneusz Iredynsky: An Altar to Himself, translated by Michal

Kobialka, Institute for Contemporary Eastern European Drama and

Theatre, Playscripts in Translation Series, No. 3, 83 pp.

36 - Tamara Karren: Madame Gabriela, translated from Polish by Krystyna

Griffith-Jones, typed manuscripts, 52 pp.

37 - Kazimierz Moczarski: Conversations with The Executioner, Stage

Adaption by Zygmunt Hubner, English Version by Earl Ostroff

and Daniel Gerould, Institute for Contemporary Eastern European

Drama and Theatre, Playscripts in Translation Series, No. 4, 45 pp.

2 1 - Slawomir Mrozek: Emigres, translated by Maciej & Theresa Wrona

with Robert Holman, photocopy of published script, 82 pp.

2 - Slawomir Mrozek: The Hunchback, translated by Jacek Laskowski,


3 - Slawomir Mrozek: On Foot, a literal translation from the Polish by

Jacek Laskowski, typed manuscript, 43 pp.

4 - Tadeusz Rozewicz: The Trap, translated by Adam Czerniawski, Institute

for Contemporary Eastern European Drama and Theatre,

Playscripts in Translation Series, No. 8, 80 pp.

J: Russian

5 - Vasilii Aksyonov: Your Murderer, translated by Daniel C. Gerould and

Jadwiga Kosicka, w/ Introduction by Daniel C. Gerould,

photocopy of published script, 37 pp.

6 - Aleksandr Borshchagovsky: The Ladies’ Tailor, translator unknown,


7 - Ignatii Dvoretsky: The Outsider, translated by C. Peter Goslett, Institute

for Contemporary Eastern European Drama and Theatre,

Playscripts in Translation Series, No. 5, 94 pp.

8 - Nikolai Erdman: The Mandate, translated and with an introduction by

Marjorie Hoover, photocopy of published script, 85 pp.

9-10 - Aleksandr Galin: Retro (A Contemporary Tale in Two Acts), translated

from the Russian by Robert Daglish, typed manuscript, 85 pp. (2

copies).

11 - Aleksander Gelman: Alone With Everyone, translated by Zora Essman,


12 - Lyudmila Petrushevskaya: Cinzano, translated by Alma H. Law, typed

manuscript, 2 copies, 29 pp. and 27 pp.





2 13 - Lyudmila Petrushevskaya: Four by Liudmila Petrushevskaya (Love,

Come into the Kitchen, Nets and Traps, The Violin), translated by

Alma H. Law, Institute for Contemporary Eastern European Drama

and Theatre, Playscripts in Translation Series, No. 7, 79 pp.

14 - Lyudmila Petrushevskaya: Love (A One-Act Play), translated by Alma

H. Law, typed manuscript, 27 pp.

15 - Lyudmila Petrushevskaya: Nets and Traps (A Monologue), translated

by Alma H. Law, typed manuscript, 17 pp.

16 - Lyudmila Petrushevskaya: Smirnova’s Birthday, translated by Alma H.

Law, typed manuscript, 2 copies, 26 pp. and 25 pp.

17 - Edvard Radzinsky: Don Juan Continued, translated by Alma H. Law,

incomplete typed manuscript, 60 pp.

18 - Edvard Radzinsky: Jogging (Sporting Scenes, 1981), translated by

Alma H. Law, typed manuscript, 72 pp.

19 - Edvard Radzinsky: An Old Actress in the Role of Dostoevsky’s Wife,

translated by Alma H. Law, typed manuscript, 68 pp.

20 - Mikhail Roshchin: The Old New Year (A Comedy in Four Scenes),

translated by Alma H. Law, typed manuscript, 114 pp.

21 - Viktor Rozov: The Class Reunion, translated by C. Peter Goslett,

photocopy of typed manuscript, w/ maps, 113 pp.

22 - Viktor Rozov: Meet My Model Family (Scenes in Two Acts), translated

by Marjorie L. Hoover, typed manuscript, 71 pp.

23-24 - Mark Rozovsky: Kafka, Father and Son (A One-Act Play for Two

Actors, based of Franz Kafka’s “Letter to His Father” and “The

Judgment”), translated by Alma H. Law, typed manuscript, 46 pp.

(2 copies).

25 - Eugene Schwartz: An Ordinary Miracle, translated by Elizabeth

Reynolds Hapgood, typed manuscript, 99 pp.

26 - Victor Slavkin: A Bad Apartment (A Comedy in One Act), translator

unknown, typed manuscript, 27 pp.

27 - A. Sokolova: The Fantasies of Fariatev (A Tragi-comedy in Two Acts),

translated by Marjorie L. Hoover, typed manuscript, 65 pp.

28 - Vyacheslav Spesivtsev: Ya Prishyol Dat Vam Volyoo (I Have Come to

Give You Freedom), in the original Russian, typed manuscript, 109

pp.

29 - Iurii Trifonov: The Exchange, translated by Marjorie L. Hoover, typed

manuscript, 44 pp.

30 - Aleksandr Vampilov: An Incident with a Paginator, translated and

adapted by Alma H. Law, typed manuscript, 52 pp.

31 - Aleksandr Vampilov: Last Summer in Chulimsk, translated by Alma H.

Law, typed manuscript, 95 pp.

32 - Aleksandr Vampilov: Twenty Minutes with an Angel (A Comedy in One

Act), translated by Alma H. Law, typed manuscript, 36 pp. (2

copies).





2 33 - Aleksandr Volodin: Never Part From Your Loved Ones, translated by

Alma H. Law, Institute for Contemporary Eastern European Drama

and Theatre, Playscripts in Translation Series, No. 1, 51 pp.

K: Swedish

34 Contemporary Swedish Drama: Five Swedish Playwrights:

- Mattias Andersson: The Runner (Loparen), translated by Einar

Heckscher (41 pp.).

- Sofia Freden: Hand in Hand (Hand I hand), translated by

Edward Buffalo Bromberg (75 pp.).

- Jonas Gardell: People in the Sun (Manniskor I solen), translated

by Einar Heckscher (68 pp.).

- Kristina Lugn: The Night Walkers (Nattorienterarna), translated

by Verne Moberg (28 pp.).

- Niklas Radstrom: Quartet (Kvartett), translated by Frank

Gabriel Perry (84 pp.).

35 - Jonas Gardell: Cheek to Cheek, translator unknown, Nordiska Strakosch


36 - Jonas Gardell: People Under the Sun (M’nniskor I Solen), from Two

Plays About God, The Devil and Ordinary Humans, translator

unknown, Nordiska Strakosch Teaterforlaget Edition, 57 pp.

37 - Lars Noren: Munich – Athens (A Comedy About Love), translated by

G.M. Anderman, typed manuscript, 67 pp.

38 - Lars Noren: Night is Mother to the Day, translated by Harry G. Carlson,


SERIES II: OTHER DOCUMENTS


A: Correspondence

2 39 - July 4, 1989, from Ann Mari Engel (Swedish Centre of the International

Theatre Institute) to Felicia Londré, re: Lars Noren plays, w/

invoice.

- March 1, 1990, from David W. Robinson to Helen Merrill, re:

Christopher Hein’s The Knights of the Round Table.

- March 7, 1990, from Helen Merrill to Felicia Laundry [sic], re:

Christopher Hein’s The Knights of the Round Table, w/ photocopy,

and other information and notes about the playwright and play.

- June 11, 1990, from Hannelore Retzlaff to Felicia Londré, re: Lars Noren

plays.

- February 18, 2001, from David Coffman (Nordiska Strakosch

Teaterforlaget) to Felicia Londré, re: The Celebration, w/ synopsis.





(2 39) - May 4, 2001, from Hanne Wilhelm Hansen (Nordiska Strakosch

Teaterforlaget) to Felicia Londré, re: Scandinavian plays.

- February 19, 2002, from David Coffman (Nordiska Strakosch

Teaterforlaget), to Felicia Londré, re: Elling, with synopsis.

- May 10, 2002, from David Coffman (Nordiska Strakosch

Teaterforlaget), to Felicia Londré, re: Elling, with synopsis.

- July 22, 2012, from Felicia Londré to Max Beatty.

- Notes and synopsis of I Have Come to Give You Freedom.

- Note re: Edvard Radzinsky’s An Old Actress in the Role of Dostoevsky’s

Wife.

- Telegram from Katona Jozser Szinhaz.

B: Newspaper Clippings

2 40 - Articles on Hungarian productions of The Government Inspector and

Three Sisters, 13 pp.

C: Articles

- “Theatre Space Postulates,” by Kazimierz Braun, typed manuscript, 14

pp.

- “Impressions of Theatre in a Changing Political Climate: Warsaw, East

Berlin, and Budapest in January 1990,” by Felicia Londre, typed

manuscript 16 pp.

- “Wunder und Wirklichkeit,” photocopy, 4 pp.

D: Miscellaneous

2 41 - Notes and Documents concerning plays and productions, 7 pp.

- Information on Gyorgy Spiro and his play Chickenhead, w/ synopsis, 14

pp.

- Press opinions on Anton Tchekov’s Three Sisters, 11 pp.

- Artisjus News Letter, w/ synopses of Hungarian plays, 20 pp.

- Missouri Repertory Theatre Program: 1984 Winter Series, 37 pp.

- Packet of Information on Katona Jozsef Szinhaz, 54 pp.




APPENDIX: Biographical Information and Play Descriptions

AMERICAN

Maxwell Anderson (December 15, 1888 – February 28, 1956) American playwright, author, poet, journalist, and

lyricist. Wrote plays in various styles, screenplay adaptations of others’ works, and books of

poetry and essays. He was awarded the Pulitzer Prize in 1933.

http://en.wikipedia.org/wiki/Maxwell_Anderson

Night Over Taos: “During the U.S.-Mexican War, which took place from 1846 to 1848, Mexico

lost nearly half of its territory, including what is now the state of New Mexico. Night Over Taos

is the true story about a Mexican freedom fighter, Pablo Montoya, who in 1847 led a bloody and

ultimately futile siege to protect New Mexico from being ceded to the United States.”

http://www.doollee.com/PlaywrightsA/anderson-maxwell.html#749

Robert Anderson (April 28, 1917 – February 9, 2009) American playwright, screenwriter, and theatre producer. He

had a successful Broadway and Film career, earning an Oscar Nomination for this screenplay of

The Nun’s Story. He was inducted into the American Theatre Hall of Fame in 1982.

http://en.wikipedia.org/wiki/Robert_Anderson_(playwright)

The Days Between: (1965) “Wife's entertainment of successful writer causes problems for

writing lecturer who cannot write.”

http://www.doollee.com/PlaywrightsA/anderson-robert.html#781

James Costin (1934 – 2005) Kansas City native, one of the principal figures in the development and growth of

the Missouri Repertory Theatre.

http://www.heartlandcremation.com/obituary/James-D-Costin/

Robert Dean Information Unavailable.

Cena Christopher Draper From Warrensburg, Missouri. Noted for children's stories that paralleled her own childhood.

http://www.kchistory.org/cdm4/item_viewer.php?CISOROOT=/Local&CISOPTR=19459&CIS

OBOX=1&REC=1

http://en.wikipedia.org/wiki/Maxwell_Andersonhttp://www.doollee.com/PlaywrightsA/anderson-maxwell.html#749http://en.wikipedia.org/wiki/Robert_Anderson_(playwright)http://www.doollee.com/PlaywrightsA/anderson-robert.html#781http://www.heartlandcremation.com/obituary/James-D-Costin/http://www.kchistory.org/cdm4/item_viewer.php?CISOROOT=/Local&CISOPTR=19459&CISOBOX=1&REC=1http://www.kchistory.org/cdm4/item_viewer.php?CISOROOT=/Local&CISOPTR=19459&CISOBOX=1&REC=1




Kevin O’Morrison (May 26, 1916 – ???) Born in St. Louis, Missouri, American playwright and actor. Began career

as an actor in the 1940s, began writing plays in the 1960s, mostly off-Broadway.

http://en.wikipedia.org/wiki/Kevin_O'Morrison

Ladyhouse Blues: “In South St. Louis, people used to say, ‘When you're standin' there hurtin' so

bad you could die, an’ you know you won't-that's the blues.’ And in August, 1919 in the midst of

war-born inflation, while her eldest daughter is being wasted by tuberculosis-Liz Madden, a

widow at forty-one, tries with what laughter, tears, and raillery she can muster, to hold her three

younger daughters around - at least until Bud, her only son, ‘can get back from the Navy.’”

http://www.doollee.com/PlaywrightsO/o-morrison-kevin.html#26368

Josephine Peabody (May 30, 1874 – December 4, 1922) American poet and dramatist.

http://en.wikipedia.org/wiki/Josephine_Preston_Peabody

The Piper: Contemporary NY Times Article:

http://query.nytimes.com/mem/archive-

free/pdf?res=F70E1EFE3F5D16738DDDAC0894DA405B818DF1D3

Louise Saunders The Knave of Hearts: Dramatized version of Saunders’ Children’s Book.

DANISH

Peter Asmussen “At the core of Peter Asmussen’s work as a dramatist is the pointlessness of existence.

Repeatedly, the characters in his plays are confronted by their choices in all aspects of Life, and

Love In particular. This confrontation causes them to question whether or not they have chosen

the right path. Torn and bewildered, they separate and reunite in new constellations, often only to

find that they are no happier than before.

“Asmussen wants this pointlessness; he wants to expose Life and all of its false expectations; he

wants to concentrate on the closest we will ever get to the source of this pointlessness: man

himself…

“…A Sunny Room…in three sections deals with the breakdown of love and the domestic hell it

leads to, all taking place in the same sun-filled room in the years 1920, 1997, and 2020.”

- From Introduction to A Sunny Room, by Nina Skriver Dahl, Contemporary Danish Drama:

Four Danish Playwrights, translated by Charlotte Barslund, p. 162.

http://en.wikipedia.org/wiki/Kevin_O'Morrisonhttp://www.doollee.com/PlaywrightsO/o-morrison-kevin.html#26368http://en.wikipedia.org/wiki/Josephine_Preston_Peabodyhttp://query.nytimes.com/mem/archive-free/pdf?res=F70E1EFE3F5D16738DDDAC0894DA405B818DF1D3http://query.nytimes.com/mem/archive-free/pdf?res=F70E1EFE3F5D16738DDDAC0894DA405B818DF1D3




Erling Jepsen “…Jespen often extends a friendly hand to his audience, building his tales on plausible

situations. But reliable realism is not his main objective; Jespen wants to tell of other, darker,

motivating forces than the ones we typically ascribe to ourselves and our fellow humans. In the

beginning, we are presented with a secure, recognizable world. But then, bit by bit, we feel our

security slipping away, until suddenly we find ourselves in a place of dark and “abnormal” urges.

“…In Manden som bad om lov til at vaere her pa jorden (The Man Who Asked permission to

Exist)…Jespen works with one of his favorite themes, our fundamental existential guilt. …The

play is made up of three scenes, three tableaux, and Jespen leaves it to the audience to find the

coherence in the story.

“…In Kuren (The Cure, 2001), we recognize Jespen’s theme of suppressed instincts – but the

play presents its grotesque ideas in a new, more direct way. The Cure also represented a new

direction for Jespen in that he created it in collaboration with a director and a group of actors in

Copenhagen.”

- From Introduction to The Man Who Asked Permission to Exist, by Jesper Bergman,

Contemporary Danish Drama: Four Danish Playwrights, translated by W. Glyn Jones, pp. 66-

67.

Line Knutzon “Among contemporary dramatists, Line Knutzon (b. 1965) stands out as one of the most talented

and original – and also one of the most popular. She made her writing debut in 1991 with a one-

act play titled Splinten I hjertet (Splinter in the Heart), which foreshadowed the generational

breakthrough in Danish drama in the 1990s.

Knutzon’s play…contained all of the elements that have since become her hallmark – first and

foremost, the young, lonely characters, confused and furious, hysterical yet matter-of-fact,

infantile yet poetic. The 26-year-old newcomer…proved herself as a playwright with the ability

to transform complicated inner states into concrete linguistic images and give them a physical

presence on stage.

“…Forst bli’r man jo fodt (First You’re Born, 1994), Knutzon’s sunniest text… In this absurdist

fairy-tale comedy, Knutzon spins the wheel of love, allowing her insecure young characters to

gather the courage to break out of the cocoon of childhood and meet someone. This time, the

blockage of life, a central theme of Knutzon’s, is resolved in a happy ending.

“…Snart kommer tiden (The Time is Coming, 1988) is Knutzon’s biggest and most ambitious

drama, and has also been her greatest success commercially… In this combination modern

lifestyle farce/existential thriller, Knutzon skillfully dissolves time and space, as the five-year-

old child of two parents, Rebekka and Hilbert, comes home one day as a 55-year old.”

- From Introduction to First You’re Born, by Brigitte Hesselaa, Contemporary Danish Drama:

Four Danish Playwrights, translated by W. Glyn Jones, pp. 128-29.




Astrid Saalbach “Saalbach is a political dramatist in the sense that she asks critical questions about the modern

way of life. In an extremely sophisticated and often surprising form, she expands the naturalist

structure with succinct and aesthetically astute dialogue. In her later plays, she also works with

absurd and grotesque scenes, and the reasons for her characters’ actions become increasingly

ambiguous. The audience’s task is to answer for themselves the questions raised in these dramas.

Saalbach’s work forces the viewer into the role of active interpreter.

“With The Blessed Child, Saalbach offers up a dystopian, often parodical, matriarchal drama in

which the theme is modern humanity’s loss of breeding and refinement, while the instinct for

survival increasingly dominates life. The drama is built in a duel structure…the first part is set in

the family, centered on the couples and families associated with the child Malte, who mutates

and sprouts feathers! In the second part, he has grown up into a John the Baptist-like figure,

preparing the way for the Messiah to come and lead a new, more capable breed of humans.

“In the modern tragedy Ashes to Ashes, Dust to Dust…a young woman named Nina commits a

jealous murder after falling out with her lover Mikael. The author then introduces two paths of

explanation to explain the murder: one leading to the obscure chemical processes of the brain,

and the other to a psychological determinism based of childhood trauma.”

- From Introduction to The Blessed Child, by Anna Lang, Contemporary Danish Drama: Four

Danish Playwrights, translated by W. Glyn Jones, pp. 10-11.

Thomas Vinterberg (May 19, 1969 –) Danish film director, who, along with Lars von Trier, co-founded the Dogme

95 movement.

http://en.wikipedia.org/wiki/Thomas_Vinterberg

The Celebration: Stage version of one of the first Dogme 95 movies. “The film tells the story of

a family gathering to celebrate their father's 60th birthday. At the dinner, the eldest son publicly

accuses his father of sexually abusing both him and his twin sister (who had recently committed

suicide).”

http://en.wikipedia.org/wiki/The_Celebration

FINNISH

Michael Baran “Baran’s own plays have a reputation for their verbosity. In an age when it is fashionable for

playwrights to be brief and elliptic, Baran’s plays are courageously wordy. As the characters

labor over their emotions and anxieties, they say less than they mean but talk more than they

need. Their expression is an angst-ridden struggle to get to the heart of their own bewilderment.

Over the years, this flow of words has become more refined. In his latest play, You Don’t Know

http://en.wikipedia.org/wiki/Thomas_Vinterberghttp://en.wikipedia.org/wiki/The_Celebration




What Love Is (1999), the dialogue is more rapid, terse, sometimes even mono-syllabic, but it is

interrupted by long, self-searching monologues, like waves of intense feeling that cannot be

stemmed by the emotional dam the speaker fights to keep in place. And while the dialogue seems

to progress in a realistic way, the situation as well as the people in it are a far stretch from

realism.

“In You Don’t Know What Love Is, there is very little sense of setting at all, and [Baran’s]

characters remain nameless, linked to one another by little more than coincidence. Moreover, the

action is propelled by a mischievous devil, whose motivations remain as cryptic as, indeed, the

motivations of individual will so frequently are.”

- From introduction to You Don’t Know What love Is, in Contemporary Finnish Drama: Five

Finnish Playwrights, p. 6.

Anne Koski “[Koski] began writing plays when she was only nine years old. …Her graduation work at the

Theatre Academy was the play Suuri toivelaulukirja (Best Loved Songs and Melodies).

“The play begins with the first meeting after many years of separation between the father, freed

after a long prison term, and the grown-up daughter. As the play advances, father and daughter

try to get to know each other, and the regressions of their reminiscing reveals the cause of the

father’s prison sentence. He killed his wife, because she had an affair with the daughter’s piano

teacher. During many years, the daughter shared her father’s sense of culpability, because she

felt she had brought her mother and her teacher together. The personalities are drawn with detail

and understanding.”

- From Introduction to Best Loved Songs and Melodies, in Contemporary Finnish Drama: Five


Juha Lehtola “Juha Lehtola (born 1966) belongs to a group of young theatre-makers who have made

significant innovations in Finnish theatre and drama by challenging the division of traditional

professional groups. The common denominator of these diverse stage artists could be considered

to be the changes which took place in theatre training in the 1980s, which began in a new way to

stress the team and its shared responsibility for the production in hand. The carrying of

responsibility was seen not merely as an ideological or artistic question, but above all in terms of

concrete participation: actors were invited to direct, and directors to act.

“The play Mielen kieli (The Mind Speak, 1994) in many ways reflects a totalist way of making.

[sic] …The birth of the play was decisively influenced by the actor Jyrki Nousiainen, whose

expressive skills as one of Finland’s few pantomime artists are in a class of their own. In the first

performance, Nousiainen performed all the roles in the play, supported only by three assistants

carrying floodlights.

“[In The Mind Speak] [t]he bonds between the characters appears to be almost overwhelming,

even though they are not family relationships. People become rooted to different spots or are




unable to stop anywhere. Each of them has an enormous need to attach themselves to someone or

something, but at the same time their instinct is to shake themselves free of everything.”

- From Introduction to Mind Speak, by Lauri Meri, in Contemporary Finnish Drama: Five


Laura Ruohonen “Laura Ruohonen’s plays reflect her ability to merge humorous elements, tragedy, and moral and

ethical issues. Her typical characters are both very funny and deeply tragic figures at the same

time. Her studies of biology create a special background to her ironical analysis of our

time…while her vivid nature images bring a strong poetical element in her writing… Her

landscape consists of swamps, Northern fells, deserted country villages, and anonymous urban

suburbs. …Her dialogue and characters have been praised by critics for being original and full of

life…

“[Olga’s] theme is a rare one in drama: a love affair between an old woman and a young man.

Olga, who lives alone, is exploited by people around her. They are joined by a young scoundrel,

Rundis. Olga, however, turns out to be an unconventional old person (as all old people are, Laura

Ruohonen implies), and this overturns the young man’s values. Olga and Rundis experience a

unique love affair which is magnificent and impossible in its defiance of society.”

- From Introduction to Olga, in Contemporary Finnish Drama: Five Finnish Playwrights, p. 307.

Juha Siltanen “Stiltanen’s plays do not always follow the traditional line of scenes or drama. On the surface,

urban, generally middle-class people who cultivate linguistic witticisms often act past one

another. Beneath the text, however, there is a moral, even a political, base. People’s alienation,

loneliness and incapacity to communicate in a world overflowing with communication tools, in

which everyone longs for the harmony of people like them but in which no one appears to accept

responsibility. [sic]

“Stiltanen’s musical background is apparent in his plays, either inbuilt or physically audible.

Sometimes his plays consist of a theme and variations through which, by changing perspective,

he bores deeper into the world he creates.

“As political and ‘theological’ a writer as Juha Siltanen considers himself to be, his social

message is indirect. The characters in Foxtrot, who represent different generations, are media

professionals, journalists, psychiatrists, politicians, whose control patients are the verbal virtuosi

of the mental hospitals. In a Chekhovian manner, they are incapable of leaving their islands in

relation to one another or to the important events of history which penetrate them. It is also a

question of the cities formed by people, cold and dark.”

- From Introduction to Foxtrot (or The White Shadows), by Hilkka Eklund in Contemporary

Finnish Drama: Five Finnish Playwrights, p. 185.




FRENCH

Jean Racine (December 22, 1639 – April 21, 1699) “French dramatist, one of the three great playwrights of

17th-century France (along with Molière and Corneille), and an important literary figure in the

Western tradition.”

http://en.wikipedia.org/wiki/Jean_Racine

Andromache: “A tragedy in five acts, written in alexandrine verse…The third of Racine's plays,

written at the age of 27, established its author's reputation as one of the great playwrights in

France.”

http://en.wikipedia.org/wiki/Andromaque

GERMAN

Bertolt Brecht (February 10, 1898 – August 14, 1956) German poet, playwright, and theatre director. “An

influential theatre practitioner of the 20th century, Brecht made equally significant contributions

to dramaturgy and theatrical production, the latter particularly through the huge impact of the

tours undertaken by the Berliner Ensemble – the post-war theatre company operated by Brecht

and his wife, long-time collaborator and actress Helene Weigel.”

http://en.wikipedia.org/wiki/Bertolt_Brecht

Puntila and His Hired Man: “The story describes the aristocratic land-owner Puntila's

relationship to his servant, Matti, as well as his daughter, Eva, who he wants to marry off to an

Attaché. Eva herself loves Matti and so Puntila has to decide whether to marry his daughter to

his driver or to an Attaché, while he also deals with a drinking problem.”

http://en.wikipedia.org/wiki/Mr_Puntila_and_his_Man_Matti

Christopher Hein “Since 1979, Christoph Hein is a freelance author of plays, translations, adaptations, novels and

narrations. In 1992, Christoph Hein becomes a member of the German Academy for Languages

and Poetry in Darmstadt. From 1997 to 2000, he is president of the German PEN Centre.

Christoph Hein received many awards, among them the Deutsches Verdienstkreuz.”

http://www.doollee.com/PlaywrightsH/hein-christoph.html

The Knights of the Round Table:

http://www.doollee.com/PlaywrightsH/hein-christoph.html#78004

http://en.wikipedia.org/wiki/Jean_Racinehttp://en.wikipedia.org/wiki/Andromaquehttp://en.wikipedia.org/wiki/Bertolt_Brechthttp://en.wikipedia.org/wiki/Mr_Puntila_and_his_Man_Mattihttp://www.doollee.com/PlaywrightsH/hein-christoph.htmlhttp://www.doollee.com/PlaywrightsH/hein-christoph.html#78004




Carl Orff (July 10, 1895 – March 29, 1982) “20th-century German composer, best known for his cantata

Carmina Burana (1937). In addition to his career as a composer, Orff developed an influential

approach of music education for children.”

http://en.wikipedia.org/wiki/Carl_Orff

Die Bernauerin: A bairisches piece, or so called by Orff, who wrote the music and libretto,

dealing with the later years of famed historical figure Agnes Bernauer.

http://translate.google.com/translate?hl=en&sl=de&u=http://de.wikipedia.org/wiki/Die_Bernauer

in&prev=/search%3Fq%3Dcarl%2Borff%2Bdie%2Bbernauerin%26hl%3Den%26tbo%3Dd&sa

=X&ei=D_7AUKP8LcWOyAGE4ID4CQ&ved=0CDwQ7gEwAQ

HUNGARIAN

Iren Kiss “In early 1989 a new play appeared in Budapest, the capital city of Hungary, and continued

through the season to both critical and popular success. I Dreamed a City, by Iren kiss, featured

but two actors. One of them, a girl in her early 20s, had come to Budapest from the historically

Hungarian mountainous region known as Transylvania. Her language in the play was archaic, as

Transylvanian Hungarian is considered today a purer forerunner, almost a relic, of the modern

language. The other protagonist, much older than the girl, spoke a Hungarian completely

modern, filled with the slang and idioms of urban intellectuals. This fellow was at once

enchanted by and jealous of the girl’s heritage. Their contact becomes a clash between the two

cultures, the girl being idealistic and infused with the strengths of her region’s traditionalism, the

fellow being completely cynical, a combination of witty sophistication and self-destructive

alcoholism.”

- Philip Balla, Appalachian Journal, Vol. 17, No. 1 (Fall 1984): 24.

Peter Nadas

(October 14, 1942 –) Hungarian writer, playwright, and essayist.

http://en.wikipedia.org/wiki/P%C3%A9ter_N%C3%A1das

“With the trilogy Takarítás (1977, House Cleaning), Találkozás (1979, Encounter), and Temetés

(1980, Burial), Nádas established his fame in Hungary as one of the most original playwrights of

his generation.”

http://www.kirjasto.sci.fi/nadas.htm

Gyorgy Schwajda (March 24, 1943 – April 19, 2010) Hungarian dramatist and theatre director. Wrote several

dramas and was the theater director of the city theater in Kaposvar.

http://en.wikipedia.org/wiki/Carmina_Burana_(Orff)http://en.wikipedia.org/wiki/Carl_Orffhttp://translate.google.com/translate?hl=en&sl=de&u=http://de.wikipedia.org/wiki/Die_Bernauerin&prev=/search%3Fq%3Dcarl%2Borff%2Bdie%2Bbernauerin%26hl%3Den%26tbo%3Dd&sa=X&ei=D_7AUKP8LcWOyAGE4ID4CQ&ved=0CDwQ7gEwAQhttp://translate.google.com/translate?hl=en&sl=de&u=http://de.wikipedia.org/wiki/Die_Bernauerin&prev=/search%3Fq%3Dcarl%2Borff%2Bdie%2Bbernauerin%26hl%3Den%26tbo%3Dd&sa=X&ei=D_7AUKP8LcWOyAGE4ID4CQ&ved=0CDwQ7gEwAQhttp://translate.google.com/translate?hl=en&sl=de&u=http://de.wikipedia.org/wiki/Die_Bernauerin&prev=/search%3Fq%3Dcarl%2Borff%2Bdie%2Bbernauerin%26hl%3Den%26tbo%3Dd&sa=X&ei=D_7AUKP8LcWOyAGE4ID4CQ&ved=0CDwQ7gEwAQhttp://en.wikipedia.org/wiki/P%C3%A9ter_N%C3%A1dashttp://www.kirjasto.sci.fi/nadas.htm




http://en.wikipedia.org/wiki/Gy%C3%B6rgy_Schwajda

Gyorgy Spiro (April 4, 1946 –) novelist, dramatist, and essayist, one of Hungary’s most prominent post-war

literary figures. His plays have won numerous awards, including several for best Hungarian

drama of the year.

“The best known one is Chickenhead (1986), an earthy and bitter drama of a young delinquent's

disillusionment at the longed-for reunion with his drunken father. Dramatic Exchange described

it as ‘widely considered to be the most important Hungarian play of the last 20 years.’”

http://en.wikipedia.org/wiki/Gy%C3%B6rgy_Spir%C3%B3

The Impostor is a strongly theatre-related piece, but beyond the provincial existence of actors, it

centres around the resistance and submission towards the ruling power.

The great actor, Boguslawski arrives from the capital city to the little Polish town of Vilna being

under Russian occupation, to play a leading role. Being in this provincial atmosphere as an

outsider, Boguslawski is able to see the different problems from above, thus he opens some new

perspectives that were so far imperceptible from inside and that give way to some alternatives

that are drawing and appalling at the same time.

The drama is not merely a depiction of social conditions; the theatre-in-theatre structure is

Spiró’s instrument with which he can continuously reflect on art as existence, on the place of the

artist and art and last but not least on its responsibility.

http://www.tamasitheatre.ro/en/1.html?cikk_id=7901

ICELANDIC

Hrafnhildur Hagalin Guomundsdottir “Born in Reykjavik in 1965, Hrafnhildur Hagalin Guomundsdottir graduated from the Reykjavik

College of Music as a classical guitarist but gave up further musical studies in order to write. Her

first play, I am the Maestro, was produced at the Raykjavik City Theatre and won her the

Icelandic Critics’ Award in 1991 and the Nordic Theatre Prize in 1992. It has since been

produced in many countries around the world. Easy Now, Electra, Hrafnhildur’s second play,

premiered at the Icelandic National Theatre…and was subsequently one of seventeen plays to be

selected for the anthology Modern Women Playwrights of Europe published by Oxford

University Press in 2001. Her plays have also been published by Oxford University Press in

2001. Her plays have also been published in Icelandic by Mal og menning in Reykjavik. She has

recently written a television play for the Icelandic State Television.”

- Introduction to Easy Now, Electra, in Contemporary Icelandic Drama: Five Icelandic

Playwrights, p. 11.

http://en.wikipedia.org/wiki/Gy%C3%B6rgy_Schwajdahttp://en.wikipedia.org/wiki/Chickenhead_(play)http://en.wikipedia.org/wiki/Gy%C3%B6rgy_Spir%C3%B3http://www.tamasitheatre.ro/en/1.html?cikk_id=7901




Arni Ibsen “(1948 –) Icelandic playwright, poet, translator and dramaturg. Author of four collections of

poetry and nine produced plays which have been translated into ten languages… Arni Ibsen

came into prominence as a playwright with The Truth Gets There Too, his debut play about

American poets William Carlos Williams and Ezra Pound in 1984. …[I]n 1996 he was

nominated for the prestigious Nordic Playwrights Prize for Heaven – A Schizophrenic Comedy,

his most popular play to date, which has also been produced to acclaim by a dozen theatres in

Germany, Norway, Sweden, Finland, Estonia and Denmark. [Other] theatre credits are the

disjointed, cinematic satire entitled For Ever, which was named play of the year in 1998, and

Man Alive, a modern treatment of the medieval ‘Everyman.’”

- From Introduction to Heaven (A Schizophrenic Comedy), in Contemporary Icelandic Drama:

Five Icelandic Playwrights, p. 47.

Olaf Olaffson “[A]uthor of the Novels The Journey Home (Pantheon, November 21, 2000) and Absolution

(Pantheon, 1994) in addition to four other novels and two plays, Four Hears and The Feast of

Snails.

“Olafsson, who leads two dramatically distinct lives as vice chairman of Time Warner Digital

Media in New York and as Iceland’s bestselling novelist, has been hailed by Library Journal as

“a gifted writer,” by Kirkus Reviews as “a welcome new voice,” and by Forbes as a “top-notch

Nordic novelist, who may become that true rarity, an Icelandic Nobel prize Winner.”

“Since November 1999, Olafsson has been vice chairman of Time Warner Digital Media. He is

responsible for developing strategic business plans for Time Warner’s diverse digital media

businesses and identifying emerging growth opportunities for the company in the digital realm.

“Olafsson studied as a Wein Scholar at Brandeis University where he received his degrees in

physics. He was born in Reykjavik, Iceland, and lives in New York City with his wife and two

sons, while maintaining a residence in Iceland.”

- From Introduction to A Feast of Snails, in Contemporary Icelandic Drama: Five Icelandic

Playwrights, p. 125.

Olafu Haukur Simonarson “…[M]ainly writes for the stage and is one of the most respected and popular dramtists [sic] in

Iceland. He is a very versatile writer having also written numerus [sic] novels, collections of

short stories and poetry, children and youth books. His songs and lyrics for children have been

released on records and CD’s [sic] and are sung in every kindergarten in Iceland.

“Simonarson has mainly worked as full-time writer since 1974. He was director of the People’s

Theatre in Reykjavik 1980-1982, Chairman of the Icelandic Dramatists’ Federation 1988-1999,

Vice-Chairman of I.T.I.’s (International Theatre Institute) playwrights’ committee 1993-1998,

and Simonarson has been on the board of the Icelandic Writers Union and the Society of

Composers and Copyright owners since 1985.




“Major works for the stage: Under the Skin trilogy, The Sea, Baddi’s Garage, Meat, Turmoil,

Tears and Endurance, The Idiots.”

- From Introduction to The Sea, in Contemporary Icelandic Drama: Five Icelandic Playwrights,

p. 159.

Thorvaldur Thorastr “(Akureyri 1960) [H]as been writing and making visual art since he was eleven and is currently

one of Scandinavia’s most successful visual artists.

“After graduating from the Icelandic College of Arts and Crafts (BA) and the Jan van Eyck

Academy in Holland (MA) his first stage play, In Honor of the Occasion, was premiered in

1992. Since then, all the plays he has written have been staged at the Reykjavik professional

theatres, among them Talespin, Me and My Boy, Fairytale About Love and The Message Pouch,

(based on his own classical children’s book).

“Thorvaldur works simultaneously with many forms of theatre; one-man performances, drama,

musicals, “stolen” texts and experimental work. He has written over a hundred scripts for

television and radio, especially for children.

“Sometimes it is hard to categorise [sic] his work. A good example of this would be

Thorvaldur’s Pocket Theatre, a large group of short texts that have been praised in many

different forms; as strong literature, visual performance, theatrical drama and radio material par

excellence.”

- From Introduction to Talespin in Contemporary Icelandic Drama: Five Icelandic Playwrights,

p. 205.

NORWEGIAN

Jon Fosse “…[M]ade his literary debut with the Novel Red, black at the age of 23, and has published some

30 works: novels, poetry, essays, short stories and children’s books. His fiction has been

nominated for the Nordic Council’s Prize for Literature.

“In the early nineties he started to write for the theatre, and he has made a remarkable

international career as a playwright. His plays have been translated into some twenty languages,

and have been published and produced for the stage in most European countries with a large

expanding interest.

“…Fosse has acquired a great reputation in the German-speaking countries. He…is now the most

frequently produced playwright in the German-speaking countries with his plays The Name,

Nightsongs and The Child.




“…Fosse has won many prizes and awards, for example the Norwegian Ibsen Prize, the Nordic

Prize for Playwrights and the Austrian Nestroy Prize.”

- From Introduction to The Name, by Torunn Liven in Contemporary Norwegian Drama: Five

Norwegian Playwrights, pp. 10-11.

Axel Hellstenius Has written the script for eleven Norwegian films, among them Oscar nominee Elling. He also

writes television, radio and stage drama and children and youth. In addition, he teaches regularly

at The Norwegian Film School in Lillehammer.

http://translate.google.com/translate?hl=en&sl=no&u=http://no.wikipedia.org/wiki/Axel_Hellste

nius&prev=/search%3Fq%3Daxel%2Bhellstenius%26hl%3Den%26tbo%3Dd&sa=X&ei=UfzF

UMbuB-GsyAGlzYDoAg&ved=0CDoQ7gEwAQ

Elling: Stage version of the Oscar-nominated Norwegian film of the same name.

http://www.imdb.com/title/tt0279064/

Henrik Ibsen (March 20, 1828-May 23, 1906) Norwegian playwright, theatre director, and poet. Considered

one of the great European playwrights.

http://en.wikipedia.org/wiki/Henrik_Ibsen

An Enemy of the People addresses the irrational tendencies of the masses, and the hypocritical

and corrupt nature of the political system that they support. It is the story of one brave man's

struggle to do the right thing and speak the truth in the face of extreme social intolerance.

http://en.wikipedia.org/wiki/An_Enemy_of_the_People

Finn Iunker “As a young Norwegian playwright he challenges the realist conventions of drama with more

open dramatic structures and a visual dramaturgy related to performance art. He also writes short

stories, articles and essays, published in various sources such as Sklaven (Berlin), Descant

(Toronto) and Vagant, a Norwegian literary periodical that he also co-edits. His first collection of

stories, Valves, was published in Oslo in 1985.

“…[F]rom 1991 to 1998, he took part in the development of the Norwegian Dramatic Arts

Project at the Bergen International Theatre, both as a participant and as a co-writer… At the

Dasarts’ School in Amsterdam, he started working in English and employed the artistic potential

and freedom of using a foreign language to good purpose.

“While in Amsterdam he wrote the play The Answering Machine, which was first staged by the

American director John Jesurun in Germany in 1994. The play represented Iunkar’s international

breakthrough. It has since been staged all over Europe and was presented as a workshop

http://translate.google.com/translate?hl=en&sl=no&u=http://no.wikipedia.org/wiki/Axel_Hellstenius&prev=/search%3Fq%3Daxel%2Bhellstenius%26hl%3Den%26tbo%3Dd&sa=X&ei=UfzFUMbuB-GsyAGlzYDoAg&ved=0CDoQ7gEwAQhttp://translate.google.com/translate?hl=en&sl=no&u=http://no.wikipedia.org/wiki/Axel_Hellstenius&prev=/search%3Fq%3Daxel%2Bhellstenius%26hl%3Den%26tbo%3Dd&sa=X&ei=UfzFUMbuB-GsyAGlzYDoAg&ved=0CDoQ7gEwAQhttp://translate.google.com/translate?hl=en&sl=no&u=http://no.wikipedia.org/wiki/Axel_Hellstenius&prev=/search%3Fq%3Daxel%2Bhellstenius%26hl%3Den%26tbo%3Dd&sa=X&ei=UfzFUMbuB-GsyAGlzYDoAg&ved=0CDoQ7gEwAQhttp://www.imdb.com/title/tt0279064/http://en.wikipedia.org/wiki/Henrik_Ibsenhttp://en.wikipedia.org/wiki/An_Enemy_of_the_People




production in Montreal at the festival 20 Days of Risky Theatre. The play tells the story of a

person traveling across Europe, while at the same time going through his/her whole life

experience.”

- From Introduction to The Answering Machine, by Torunn Liven in Contemporary Norwegian

Drama: Five Norwegian Playwrights, pp.72-73.

Cecilie Loeveid “…[I]s considered to be an important pioneer in contemporary dramatic writing in Norway and

Scandinavia.

“In addition to stage plays, radio plays, and television plays, she has written texts for

performance theatre, opera and dance… Her plays have been translated into several languages,

and she has won prestigious prizes and awards.

“Several of her works have been developed in close cooperation with other artists and…these

works have been published or staged in different genres and contexts… When writing

“historical” dramas, her texts are both mimetic and experimental. Loveid has created her own

version of the contemporary physical, neo-expressionistic theatre of images without giving up

the traditional base of the drama: dialogue, characters and plots, staging particularly women as

bides situated in a socially interrelated space.

“She wrote the play Austria – A Pastiche for the International Ibsen Festival at the Norwegian

National Theatre in 1998. Partly based on the diaries of the philosopher Ludwig Wittgenstein,

the play is a love story with a surreal twist. It was awarded the Ibsen Prize in 1999 (Best Written

Drama). In 1997 Loveid’s play about the life of the Ukrainian wife of the Norwegian Nazi

collaborator Vidkun Quisling, Maria Q, was produced at the California State University,

Hayward.”

- From Introduction to Austria – A Pastiche, by Torunn Liven in Contemporary Norwegian

Drama: Five Norwegian Playwrights, pp. 82-83.

A.I.S. Lygre “…[H]e began writing for the theatre at the age of 25. He made his debut at the Norwegian

Drama Festival in 1996 with an abridged version of his first play, Mother and Me and Men.

“For the opening of the new millennium, Lygre’s second play Sudden Eternity premiered at the

Norwegian National Theatre. Sudden Eternity plays with time, moving in a non-realistic scenario

from New Year’s Eve 2000 to the turn of the millennium in the year 3000. As in Mother and Me

and Men, Lygre follows a family through several generations. The women are in charge while

fathers come and go and the matriarch subjects herself to numerous nips and tucks in the search

for eternal youth. When genetic engineering suddenly makes it possible to stop the ageing

process, the ‘bonfire of vanities’ explodes in tragedy.

“Sudden Eternity was received at the Norwegian National Theatre as a most promising debut.

The play reveals the dramatist’s urge to explore the form of his own drama, shifting time




perspectives and experimenting with brief scenes interrupted by sudden monologues. Lygre

displays a certain sense of morbidity in life, and through his satiric humour and absurdity, an

alarming scenario of today emerges. Time is relative, and death is ever in question in Lygre’s

family chronicles.”

- From Introduction to Sudden Eternity, by Torunn Liven in Contemporary Norwegian Drama:

Five Norwegian Playwrights, pp.126-127.

Petter S. Rosenlund “For a number of years he worked for the Norwegian Broadcasting Corporation (NRK), making

several full-length TV- documentaries addressing political issues, aimed at a young audience. He

made his debut as a playwright in 1997 with the black comedy An Impossible Boy, which was

acclaimed as the most delirious and striking comedy debut in years. He was awarded the Ibsen

prize for this play in 1998… The play has been translated into Swedish, English, German and

French and published in Norwegian and French.

“Rosenlund’s plays are characterized by sharp dialogue and dark wit, and several people have

compared him to the New York playwright Nicky Silver. In An Impossible Boy young Jim has to

see the doctor when his mother discovers what she thinks is his failing hearing. As events unfold

in absurdity and farce, it appears that the ones whose hearing is failing the most are the mother,

the doctor and the grandfather. Egocentric adults need children in order to condone their own

neurotic actions, and the family institution is the worst threat to family values in Petter S.

Rosenlund’s black comedies of human compassion in the age of cellular communication.”

- From Introduction to An Impossible Boy, by Torunn Liven in Contemporary Norwegian

Drama: Five Norwegian Playwrights, pp. 228-229.

POLISH

E.J. Czerwinski Premiere of I Am Innokenty possibly took place at the Slavic Center at SUNY Stony Brook,

where Czerwinski was a faculty member, in 1971.

http://dspace.sunyconnect.suny.edu/bitstream/handle/1951/27796/Statesman,%20V.14,%20n.%2

038.pdf;jsessionid=ED09F6B97B127E4A46C1B88000F8AE8C?sequence=1

Witold Gombrowicz (August 4, 1904 – July 24, 1969) “A Polish novelist and dramatist. His works are characterized

by deep psychological analysis, a certain sense of paradox and an absurd, anti-nationalist flavor.

He gained fame only during the last years of his life, but is now considered one of the foremost

figures of Polish literature.”

http://en.wikipedia.org/wiki/Witold_Gombrowicz

http://dspace.sunyconnect.suny.edu/bitstream/handle/1951/27796/Statesman,%20V.14,%20n.%2038.pdf;jsessionid=ED09F6B97B127E4A46C1B88000F8AE8C?sequence=1http://dspace.sunyconnect.suny.edu/bitstream/handle/1951/27796/Statesman,%20V.14,%20n.%2038.pdf;jsessionid=ED09F6B97B127E4A46C1B88000F8AE8C?sequence=1http://en.wikipedia.org/wiki/Witold_Gombrowicz




The Marriage: “Written in Argentina after World War II. The narrative takes place in a dream,

where the dreamer transforms into a king and plans to marry his fiancée in a royal wedding, only

as a means to save their integrity.”

http://en.wikipedia.org/wiki/The_Marriage_(Gombrowicz_play)

Operetta: “Begun in 1958 and not completed until 1966, has been produced in 25 countries and

almost as many languages. Gombrowicz didn’t live to see it onstage, dying just a few months

before its Parisian premiere. Take all the gleeful mayhem that any of the above artists caused and

double it. No, redouble it. That’s part of the game(s) – betting, polo, dueling, scoring women – of

this operetta, which concerns what is basically a pissing-contest between Count Charm and

Baron Firulet.

http://www.broadstreetreview.com/index.php/main/article/gombrowiczs_operetta_at_live_arts_f

estival

Ireneusz Iredynsky “Playwright Ireneusz Iredynski is a renowned contemporary Polish dramatist. Born in

Stanislawow, Poland, he was raised by his grandmother and aunt after most of his family

perished in World War II, only to run away at the age of 16. His first collection of short stories,

"Day of a Cheat," was published in 1954. Stanislaw Lem, Poland's renowned author of science-

fiction tales has compared him to Dostoyevski.”

http://info-poland.buffalo.edu/web/arts_culture/literature/drama/iredynski/link.shtml

An Altar to Himself: (1981) “Investigating the suicide of an opportunistic party member finally

driven by inner demons to revolt against his own degradation.”

- From The Columbia Encyclopedia of Modern Drama: M-Z by Gabrielle H. Cody, p. 1082.

Tamara Karren Madame Gabriela: “The play, which is almost entirely based on the letters of a famous Polish

writer Gabriela Zapolska, is an attempt to reconstruct the last two decades of the playwright’s

life. It takes a look at her extravagant, impulsive nature, her numerous love-affairs, her marriage

with a painter Janowski, and finally her loneliness and death.”

http://www.playservice.net/index.php?1=1&page=play_det&FLD_SEARCH=&id=6.185&direkt

_count=15

Kazimierz Moczarski (July 21, 1907 – September 27, 1975) “A Polish writer and journalist, officer of the Polish Home

Army… Kazimierz Moczarski is primarily known for his book Conversations with an

Executioner, a series of interviews with a fellow inmate of the notorious UB secret police prison

under Stalinism, the Nazi war criminal Jürgen Stroop soon to be executed. Thrown in jail in 1945

and pardoned eleven years later during Polish October, Moczarski spent four years on death row

(1952–1956), and was tried three times as an enemy of the state while in prison.”

http://en.wikipedia.org/wiki/The_Marriage_(Gombrowicz_play)http://www.broadstreetreview.com/index.php/main/article/gombrowiczs_operetta_at_live_arts_festivalhttp://www.broadstreetreview.com/index.php/main/article/gombrowiczs_operetta_at_live_arts_festivalhttp://info-poland.buffalo.edu/web/arts_culture/literature/drama/iredynski/link.shtmlhttp://www.playservice.net/index.php?1=1&page=play_det&FLD_SEARCH=&id=6.185&direkt_count=15http://www.playservice.net/index.php?1=1&page=play_det&FLD_SEARCH=&id=6.185&direkt_count=15




http://en.wikipedia.org/wiki/Kazimierz_Moczarski

Slawomir Mrozek (June 29, 1930 –) “A Polish dramatist and writer. Mrożek joined the Polish United Workers'

Party during the reign of Stalinism in the People's Republic of Poland, and made a living as

political journalist. He began writing plays in the late 1950s. His theatrical works belong to the

genre of absurdist fiction, intended to shock the audience with non-realistic elements, political

and historic references, distortion, and parody.”

http://en.wikipedia.org/wiki/S%C5%82awomir_Mro%C5%BCek

Emigres: “The action of this play takes place in an apartment located in a basement of a house in

Western Europe, on the night of New Year's Eve. The two heroes are both of Polish emigrants,

but when the first came to work, the second is a political exile. In the room we understand that

the first, XX, came to earn money but in return as soon as possible at home to find his family. It

is a simple man, who did not study and do not speak the language of the host country. The

second character, AA, fled popular diet is an educated man, a writer who tries to write about the

freedom of the human being or rather his lack of freedom. He says stay locked in the apartment

to investigate XX.”

http://fitheatre.free.fr/gens/Mrozek/LesEmigres.htm

The Hunchback: “The action takes place in the mid-twentieth century, the seemingly carefree

conditions, somewhere in the mountains on vacation, in the guest house run by the Beetle, but

visited by the Stranger. Trivial experiences of residents - big, flirty, break - become a grotesque

character, atmosphere thickened, the reality of the performance achieved in symbolic meaning,

the rank generalization.”

http://www.tvp.pl/kultura/teatr/teatr-telewizji/archiwum/garbus/1195239

On Foot: “On Foot, by one of Poland’s most renowned playwrights Slawomir Mrozek, is

perhaps one of the greatest plays ever written about war and human displacement. On Foot, a

tragicomedy with ten characters representing a cross section of society, is both a historical drama

and a metaphysical fable that takes place in the final days of World War II. It combines the tale

of a young boy’s initiation into adulthood with the story of a war weary people’s fears of a

coming political disaster and the allegory of waiting for a train that never comes. The universal

themes present in On Foot speak to the horrors of both the past and present holocausts and

mirrors the journey our own ancestors experienced when they settled this region.”

http://www.madstage.com/Shows/onfoot.html

Tadeusz Rozewicz (October 9, 1921 –) “A Polish poet and writer. His youthful poems were published in 1938.

Tadeusz survived the war and by the time of his literary debut in 1960, he was the author of

twelve highly acclaimed volumes of poetry. He has since also written over fifteen plays. This

http://en.wikipedia.org/wiki/Kazimierz_Moczarskihttp://en.wikipedia.org/wiki/S%C5%82awomir_Mro%C5%BCekhttp://fitheatre.free.fr/gens/Mrozek/LesEmigres.htmhttp://www.tvp.pl/kultura/teatr/teatr-telewizji/archiwum/garbus/1195239http://www.madstage.com/Shows/onfoot.html




eruption of dramaturgical energy was also accompanied by major volumes of poetry and prose.

Różewicz is considered one of Poland's best post-war poets and most innovative playwrights.”

http://en.wikipedia.org/wiki/Tadeusz_R%C3%B3%C5%BCewicz

The Trap: “This text dramatizes the anxieties and nightmares of the writer Franz Kafka as he

himself experiences them in relation to his father, his friend and his fiancée. Despite his attempts

to escape the many threats of confinement, the traps prove too cunning for Franz.”

http://www.waterstones.com/waterstonesweb/products/tadeusz+rozewicz/daniel+gerould/adam+

czerniawski/the+trap/5488795/

RUSSIAN

Vasilii Aksyonov (August 20, 1932 – July 6, 2009) A Soviet and Russian novelist. He is known in the West as the

author of The Burn (Ожог, Ozhog, from 1975) and Generations of Winter (Московская сага,

Moskovskaya Saga, from 1992), a family saga depicting three generations of the Gradov family

between 1925 and 1953.

http://en.wikipedia.org/wiki/Vasily_Aksyonov

Your Murderer: is a richly grotesque hodgepodge of different linguistic levels that defies all rules

and mixes a powerful cocktail out of traditional slogans, invented obscenities, foreign words and

phrases, terminology from sports and heavy drinking, and pure nonsense.

http://www.alibris.com/booksearch?qwork=11426334&matches=12&cm_sp=works*listing*title

Aleksandr Borshchagovsky A Ladies’ Tailor: “In 1980, a small Jewish theatrical troupe in Moscow caused an enormous stir

by performing a play about the 1941 Nazi massacre of more than 100,000 Kiev citizens at the

ravines at Babi Yar. The play was ''A Ladies' Tailor'' by Aleksandr Borshchagovsky, and, to the

astonishment of both Western journalists and Moscow audiences, it challenged the official

Soviet version of history.”

http://travel2.nytimes.com/top/reference/timestopics/subjects/t/theater/index.html?s=oldest&field

=per&match=exact&query=BORSHCHAGOVSKY,%20ALEKSANDR

Ignatii Dvoretsky “Ignatii Moiseevich Dvoretsky was born in 1919 at Slivdianka on Lake Baikal… He was first

published in 1948; a book of short stories, Polnovodie (High Water), the novellas, Komandirovka

(The Mission), Taiga vesenniaia (Spring Taiga), and Istochnik (The Source), as well as other

books, have been published.

http://en.wikipedia.org/wiki/Tadeusz_R%C3%B3%C5%BCewiczhttp://www.waterstones.com/waterstonesweb/products/tadeusz+rozewicz/daniel+gerould/adam+czerniawski/the+trap/5488795/http://www.waterstones.com/waterstonesweb/products/tadeusz+rozewicz/daniel+gerould/adam+czerniawski/the+trap/5488795/http://en.wikipedia.org/wiki/Vasily_Aksyonovhttp://www.alibris.com/booksearch?qwork=11426334&matches=12&cm_sp=works*listing*titlehttp://travel2.nytimes.com/top/reference/timestopics/subjects/t/theater/index.html?s=oldest&field=per&match=exact&query=BORSHCHAGOVSKY,%20ALEKSANDRhttp://travel2.nytimes.com/top/reference/timestopics/subjects/t/theater/index.html?s=oldest&field=per&match=exact&query=BORSHCHAGOVSKY,%20ALEKSANDR




“The Contemporary Chronicle Chelovek so storoni (The Outsider) was first produced in 1971 at

the Lensoviet Theatre in Leningrad, then at the Malaya Bronnaya Theatre in Moscow, and in

other cities.”

- From Introduction to the play.

Nikolai Erdman (November 16, 1900 – August 10, 1970) “A Soviet dramatist and screenwriter primarily

remembered for his work with Vsevolod Meyerhold in the 1920s. His plays, notably The Suicide

(1928), form a link in Russian literary history between the satirical drama of Nikolai Gogol and

the post-World War II Theatre of the Absurd.”

http://en.wikipedia.org/wiki/Nikolai_Erdman

The Mandate: “Erdman's weapon, as in his later The Suicide, is farce: the plot suggests Gogol

crossed with Ray Cooney. We watch, astonished, as a family of ex-grocers tries to marry into a

group of closet Tsarist romantics. The dowry for the daughter, however, has to be a bona fide

communist. So we see the petty bourgeoisie frantically seeking to rustle up a group of fake

proletarian relatives and Pavel, the son of the house, brandishing a mandate to prove he is a

genuine party member. But, like everything in Erdman's world, even that turns out to be less than

it seems. - Michael Billington, Guardian”

http://www.doollee.com/PlaywrightsE/erdman-nikolai.html#41244

Aleksandr Galin

“What was life like for Soviet playwrights before glasnost? A fable-like glimpse was offered by

Gleb Panfilov's recent film, "Theme," in which a refusenik dramatist prepares to emigrate, while

his friend writes popular, state-approved hackwork.

Those were the extremes. Alexander Galin's life as a Soviet playwright falls somewhere in

between these poles. He had early success ("A Delusion" in 1978), and, three years later, his

comedy "Retro" was the most-staged work in the country. But four years went by before the

Mikhail Gorbachev-led thaw allowed a production of his portrayal of the underbelly of Moscow

during the 1980 Olympics, "Stars in the Morning Sky," by Leningrad's Maly Theatre.”

http://articles.latimes.com/1988-12-19/entertainment/ca-488_1_streets

Aleksander Gelman (October 25, 1933 –) “A Bessarabian-born Soviet and Russian playwright, writer, and

screenwriter. A survivor of the Holocaust during childhood, Gelman became a playwright and

screenwriter after working as a newspaper journalist in Leningrad in the 1960s, winning the

USSR State Prize in 1976. He has resided in Moscow since 1978.”

http://en.wikipedia.org/wiki/Alexander_Isaakovich_Gelman

http://en.wikipedia.org/wiki/Nikolai_Erdmanhttp://www.doollee.com/PlaywrightsE/erdman-nikolai.html#41244http://articles.latimes.com/1988-12-19/entertainment/ca-488_1_streetshttp://en.wikipedia.org/wiki/Alexander_Isaakovich_Gelman




Alone with Everyone (or A Man with Connections, 1982): “Explores a crisis between husband

and wife after an industrial accident in which their son loses both hands and for which the father

is responsible. Oleg Efremov, who shared Gelman's concern for truth, directed his work at the

Moscow Art Theatre, but so far Gelman has not written plays since perestroika.”

http://www.answers.com/topic/aleksandr-gelman

Lyudmila Petrushevskaya (May 26, 1938 –) “A Russian writer, novelist, and playwright. The Moscow-born

Petrushevskaya is regarded as one of Russia's most prominent contemporary writers, whose

writing combines postmodernist trends with the psychological insights and parodic touches of

writers such as Anton Chekhov. Over the last few decades, she has been one of the most

acclaimed contemporary writers at work in Eastern Europe; Publishers Weekly has called her

"one of the finest living Russian writers".”

http://en.wikipedia.org/wiki/Lyudmila_Petrushevskaya

Cinzano and Smirnova’s Birthday: “Cinzano and Smirnova's Birthday are two linked plays, first

published in Moscow in 1988, depicting the grim reality of domestic life in Soviet Russia. And

despite the immense political and social upheavals of subsequent decades, they remain as

resonant and relevant as ever. In Cinzano, first staged in English at the Tron Theatre, Glasgow,

in 1989, three young men drink themselves into a stupor to escape their drab lives and family

responsibilities. In the companion piece, Smirnova's Birthday, the men's girlfriends meet up at a

birthday celebration.”

http://books.google.com/books/about/Cinzano.html?id=hvLwAaS0sgUC

Come Into the Kitchen: “[W]as published in Odnoaktnye p’esy, Moscow, 1979. The English-

language premiere took place April 25, 1982 at the Eccentrio Circles Theatre, New York, in a

production directed by Sharon Carnicke.”

- From Introduction to play, in Four by Liudmila Petrushevskaya.

Love: “[W]as originally published in the journal, Teatr, in March, 1979. It had its debut on the

professional stage in Moscow in 1980 at the Ermolova Theatre. The English-language premiere

took place April 25, 1982 at the Eccentric Circles Theatre, New York, in a production by Sharon

Clark.”


Nets and Traps: “[W]as originally published in the April 1974 issue of Aurora. It had its

English-language premiere on April 6, 1983 at the University of Maine, Farmington, directed by

Andrea C. Southard.”


http://www.answers.com/topic/aleksandr-gelmanhttp://en.wikipedia.org/wiki/Lyudmila_Petrushevskayahttp://books.google.com/books/about/Cinzano.html?id=hvLwAaS0sgUC




The Violin: “[W]as originally published in the Russian Journal, Druzhba narodov, No. 10, 1973.

It had it’s [sic] English-language premiere in Minneapolis on August 7, 1983, at the American

Theatre Association Convention.”


Edvard Radzinsky (September 23, 1936 –) “A Russian playwright, television personality, screenwriter, and the

author of more than forty popular history books.”

http://en.wikipedia.org/wiki/Edvard_Radzinsky

Don Juan Continued: “After an absence of two hundred years, Don Juan turns up in Moscow

looking for his servant, Leporello. He finds him, now names Leppo Karlovich Rello, managing a

photo studio that specializes in trick photography. Leppo Karlovich insists Don Juan has made a

mistake. He remembers all too well the beatings and the sleepless nights he spent as Don Juan’s

servant. But gradually, Don Juan forces him to remember all of their relationships over the past

three thousand years, beginning in Troy when Don Juan’s name was Paris and Leporello was his

slave.”

- From Introduction to the play.

Jogging (Sporting Scenes, 1981): “Radzinsky returned to the difficulties of the young in

reconciling their ideals with contemporary, unromantic reality. Following the 1986 premiere of

Jogging (Sporting Scenes, 1981), a battle of the sexes expose of the children of the running elite,

he became one of the most frequently produced native playwrights in modern Russia.”

- From The Cambridge Paperback Guide to Theatre, edited by Sarah Stanton and Martin

Banham, p. 303.

An Old Actress in the Role of Dostoevsky’s Wife: “This is my favorite kind of story because it’s

theatre within theatre. There is the ACTRESS who plays the role of Dostoevsky’s wife, and who

at the same time exists as an individual, as an actress who unites her life with that of Anna

Grigorevna’s. There is also the madman who presents himself as Dostoevsky. But when I

finished the play and reread it, then it became clear to me that I myself wasn’t sure who these

characters are.”

- From Radzinsky’s Afterword.

Mikhail Roshchin (February 10, 1933 – October 1, 2010) “A Russian playwright, screenwriter, and short story

writer.”

http://en.wikipedia.org/wiki/Mikhail_Roshchin

http://en.wikipedia.org/wiki/Edvard_Radzinskyhttp://en.wikipedia.org/wiki/Mikhail_Roshchin



MS221-Felicia Londré Manuscr