Not Signed-In
Which clippings match 'Leo Tolstoy' keyword pg.1 of 1
23 JANUARY 2014

The emergence of living newspapers in the early twentieth century

"The roots of the 'living newspaper' in Europe can be traced to Italian futurism in the early decades of the twentieth century. It was in the young Soviet Union (and principally the Moscow Institute of Journalism), however, that it was developed into a recognisable form of agitprop theatre. Performed by small bands of propagandists, the scripts for zhivaya gazeta were often pasted together from materials found in newspapers–though a high degree of improvisation was also encouraged–and were designed to provide illiterate audiences (such as workers or Red Army recruits) with details of campaigns, battles or other newsworthy events (Casson, 2000). Plays were performed on street corners or in other public spaces, with the aid of a handful of props and simple yet highly symbolic costumes [2].

By the late 1920s, however, zhivaya gazeta were already being seen as passé by many dramatists in the Soviet Union, with all forms of 'revolutionary agitational art' becoming 'increasingly unwelcome', and official attention turning towards the development of more sophisticated forms of theatre in the lead up to the adoption of socialist realism as official state doctrine in 1932 (Frolova‐Walker, 2006: 185). Indeed, Stalin disbanded the Blue Blouse Group, the main exponent of zhivaya gazeta, in 1928 (Casson, 2000:109)."

(Jeremy Taylor. p.29)

[2] Top hats, for instance, were used with much frequency to mark out a particular character as being bourgeois (Tolstoy, 1998: 24).

Jeremy E.Taylor (2013). The Sinification of Soviet Agitational Theatre: 'Living Newspapers' in Mao's China, Journal of the British Association for Chinese Studies, Vol. 2 July 2013.


agitational art • agitprop theatre • Blue Blouse Group • dramaturgyearly twentieth centuryFuturism (art movement) • huobaoju • illiterate audiences • improvisationinterventionist art • Jeremy Taylor • John Casson • Journal of the British Association for Chinese Studies • Leo Tolstoy • living newspaper • Marina Frolova-Walker • Moscow Institute of Journalism • newspapers • newsworthy events • pasted together • propaganda • propagandist • public spacesRed Army • revolutionary acts • revolutionary agitational art • socialist realismSoviet Union • state doctrine • street theatre • symbolic costumes • theatre form • theatre history • transformational narrative • yangbanxi • zhivaya gazeta


Simon Perkins
04 MAY 2013

The talent myth: how to maximise your creative potential

"Most of us grow up being taught that talent is an inheritance, like brown hair or blue eyes. Therefore, we presume that the surest sign of talent is early, instant, effortless success, ie, being a prodigy. In fact, a well–established body of research shows that that assumption is false. Early success turns out to be a weak predictor of long–term success.

Many top performers are overlooked early on, then grow quietly into stars. This list includes Charles Darwin (considered slow and ordinary by teachers), Walt Disney (fired from an early job because he 'lacked imagination'), Albert Einstein, Louis Pasteur, Paul Gauguin, Thomas Edison, Leo Tolstoy, Fred Astaire, Winston Churchill, Lucille Ball, and so on. One theory, put forth by Dr Carol Dweck of Stanford University, is that the praise and attention prodigies receive leads them to instinctively protect their 'magical' status by taking fewer risks, which eventually slows their learning.

The talent hotbeds are not built on identifying talent, but on constructing it. They are not overly impressed by precociousness and do not pretend to know who will succeed. While I was visiting the US Olympic Training Centre at Colorado Springs, I asked a roomful of 50 experienced coaches if they could accurately assess a top 15–year–old's chances of winning a medal in the Games two years from then? Only one coach raised his hand.

If you have early success, do your best to ignore the praise and keep pushing yourself to the edges of your ability, where improvement happens. If you don't have early success, don't quit. Instead, treat your early efforts as experiments, not as verdicts."

(Daniel Coyle, 25 August 2012, The Independent)



Albert EinsteinattentionCarol DweckCharles Darwin • coach • Colorado Springs • constructing talent • creative potential • early success • effortless success • Fred Astaire • inheritance • instant success • Leo Tolstoylong-term successLouis Pasteur • Lucille Ball • magical status • Olympic Games 2012 • Olympic medal • Paul Gauguin • perseverance • praise • precociousness • prodigy • risk averserisk-takingStanford Universitytalent • talent hotbed • talent myth • Thomas Edison • top performers • US Olympic Training Centre • Walt DisneyWinston Churchill


Simon Perkins
12 OCTOBER 2009

The Hedgehog and The Fox: An Essay on Tolstoy's View of History

"There is a line among the fragments of the Greek poet Archilochus which says: 'The fox knows many things, but the hedgehog knows one big thing.' Scholars have differed about the correct interpretation of these dark words, which may mean no more than that the fox, for all his cunning, is defeated by the hedgehog's one defence. But, taken figuratively, the words can be made to yield a sense in which they mark one of the deepest differences which divide writers and thinkers, and, it may be, human beings in general. For there exists a great chasm between those, on one side, who relate everything to a single central vision, one system, less or more coherent or articulate, in terms of which they understand, think and feel – a single, universal, organising principle in terms of which alone all that they are and say has significance – and, on the other side, those who pursue many ends, often unrelated and even contradictory, connected, if at all, only in some de facto way, for some psychological or physiological cause, related to no moral or aesthetic principle. These last lead lives, perform acts and entertain ideas that are centrifugal rather than centripetal; their thought is scattered or diffused, moving on many levels, seizing upon the essence of a vast variety of experiences and objects for what they are in themselves, without, consciously or unconsciously, seeking to fit them into, or exclude them from, any one unchanging, all embracing, sometimes self–contradictory and incomplete, at times fanatical, unitary inner vision. The first kind of intellectual and artistic personality belongs to the hedgehogs, the second to the foxes; and without insisting on a rigid classification, we may, without too much fear of contradiction, say that, in this sense, Dante belongs to the first category, Shakespeare to the second; Plato, Lucretius, Pascal, Hegel, Dostoevsky, Nietzsche, Ibsen, Proust are, in varying degrees, hedgehogs; Herodotus, Aristotle, Montaigne, Erasmus, Molière, Goethe, Pushkin, Balzac, Joyce are foxes."

(Isaiah Berlin)

Isaiah Berlin, 1953. The Hedgehog and the Fox: An Essay on Tolstoy's View of History UK: Phoenix, 978–0–75380–867–2


ad-hoc • Aleksandr Pushkin • Archilochus • AristotleBlaise Pascal • centrifugal • centripetal • Dante Alighieri • de facto • Desiderius Erasmus • fox • Friedrich Nietzsche • Fyodor DostoyevskyGeorg Hegel • hedgehog • Henrik Ibsen • Herodotus • Honoré de Balzac • Isaiah Berlin • James JoyceJean-Baptiste PoquelinJohann Wolfgang von GoetheLeo Tolstoy • Lucretius • Marcel Proust • Michel de Montaigne • Molière • Platopolymathsingle-mindedWilliam Shakespeare


Simon Perkins

to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.