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Professor Fletcher proposes that it can be understood in terms of the normal functioning of the mind, which seeks to construct a working model of reality even though it has very little direct contact with that reality.
Musorgsky’s opera Boris Godunov (1872) is set in the ‘Time of Troubles’, using Pushkin’s incisive verse tragedy on the chaotic period preceding the establishment of the Romanovs.
The rousing finale of Mikhail Glinka's patriotic A Life for the Tsar (1836) guaranteed it a place as the traditional season opener in Russian opera houses.
I will argue for the essential unity of speech and gesture in the transmission of thought, and suggest that we have underestimated the considerable communicative significance of these movements.
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