Kapitel in diesem Buch

1. Frontmatter i
2. Table of Contents vii
3. Foreword. The Ghosts of History Redux: Intertextuality, Rewriting, Adaptation ix
4. Introduction 1
5. Part 1 THE RUSSIAN AND FRENCH MASTERS
6. I. The Political Ghosts and Ideological Phantasms of Nic Ularu’s The Cherry Orchard, A Sequel 27
7. II. Adapting Molière and Jules Verne to Soviet Censorship: The Alchemical Politics of Bulgakov’s A Cabal of Hypocrites and The Crimson Island 51
8. III. György Spiró’s The Impostor: Rethinking Molière’s Tartuffe for Communist Hungary 75
9. Part 2 SHAKESPEARE IN CENTRAL AND EASTERN EUROPE
10. IV. Stalinist “Traitors” and “Saboteurs”: Matéi Vișniec’s Richard III Will Not Take Place or Scenes from the Life of Meyerhold 93
11. V. Staging Hamlet as Political No Exit in Géza Bereményi’s Halmi 115
12. VI. Nedyalko Yordanov’s The Murder of Gonzago: Reading Bulgaria’s Communist Political Culture through Shakespeare’s Hamlet 135
13. Part 3 INSERTING GOD INTO POLITICS
14. VII. Specters of State Power, History, and Politics of the Stage: Vlad Zografi’s Peter or The Sun Spots 155
15. VIII. Inserting God into the Communist Personality Cult: Stefan Tsanev’s The Other Death of Joan of Arc 177
16. Conclusion 197
17. Bibliography 203
18. Index 211