By Tom Wolk

ISBN-10: 0825624487

ISBN-13: 9780825624483

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He is completely transformed into a monkey. Zoya Monrose sells him to the circus. He is shown in a cell . . The last paragraph (Epilogue), which tells of Orango's downfall, is in Tolstoy's hand. We may therefore assume that the idea of the Prologue, in which the degraded hybrid is confronted with his past, was Tolstoy's. Clearly, it was Tolstoy who created the ambiguous, suggestive name of the hero, formed not only from Jean Ohr, the foster father of the hybrid, but also 21 Interrupted masterpiece from 'Orangutan', and thus containing in itself 'the lowest of low genetic depths [dvoynoye geneticheskoye dno]'.

Work on the film was coming to an end. 2 1 On 18 September, the day he arrived from Moscow, Shostakovich went to see Trauberg (1. ) and, on the 25th, a contract on writing the music for the film was signed with Lenfil'm. 22 It is possible that this is why Shostakovich visited Lenfil'm on 21 September. There is an entry in his Diary on 25 September about a trip to the film studio: At 19 go to Lenfil'm (l. 136). This is another example of a 'mute' entry, the true meaning of which is revealed only when accompanied by other sources, thus reliably confirming and supplementing their information.

66 On the basis of this practice, which was typical for Shostakovich, and taking into account already well-known facts (the clause about the collaboration of 'the authors' with 'the composer', and his contact with Tolstoy on the written fragment of opera), it is possible to assert that Shostakovich contributed by one method or another to the work of the librettists. But there are even more valid reasons to see in the plot of Orango the invisible presence of the composer. In 1929, at the behest of Vsevolod Meyerhold, Shostakovich wrote music to the play The Bedbug and repeatedly met with Vladimir Mayakovskiy.

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Original Eric Clapton by Tom Wolk

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