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By Bruce Culver, Bill Murphy, Don Greer

Camouflage of the German panzer forces 1939-45

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Secondly, the material incorporated texts which were either controversial or unpublished. These included: Olga Berggolts’s “Duma” of 1940 which, apart from being unpublished and censored from an edition of Berggolts’s poetry prepared in 1965,68 contained a reference to the Kolyma prison camp. Similarly, the mention of a camp caused objections to the scene between the poet Vsevolod Bagritsky and his imprisoned mother. The poems by Pasternak came mainly from Doctor Zhivago, which had been refused publication in the Soviet Union and had subsequently been published in Italy.

The themes of the fall of the Romanov empire, or the suffering of the prisoners have been added to the information provided by Reed. The role of John Reed as a character, not just an observer of the revolution, but as an American citizen and communist, has been introduced into the adaptation. Not only is the production preceded by Lenin’s comment on Reed’s book, but several scenes are devoted to the reactions provoked by Reed’s account in the United States, including Reed’s trial for spreading revolutionary ideas.

55 Lyubimov challenged history in making it tangible to a contemporary audience, rather than putting it on a pedestal. Yu. Lyubimov deprived history of its magnificence and private life of its seclusion. 56 The production drew on elements of Brechtian theatre in the use of placard, projection, and song, as well as the mode of predstavlenie (demonstration) rather than that of perezhivanie (emotional experience) of the Moscow Arts Theatre. 59 Yet a production like Ten Days deserves to be considered as idiosyncratic, as an entity rather than an amalgam of styles and traditions.

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Camouflage of the German Panzer Forces 1939-45 by Bruce Culver, Bill Murphy, Don Greer

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