Rosamund Bartlett is Visiting Professor at Rose Bruford College of Theatre and Performance and Visiting Research Fellow in the Music Department at King’s College London. She is the author and editor of several books, including Wagner and Russia (1995), Shostakovich in Context (2000) and biographies of Tolstoy and Chekhov, whose works she has also translated.Sarah Dadswell is a cultural historian specializing in performance and an Honorary Research Fellow in the Department of Drama at Exeter. Her doctoral thesis on the emergence and development of Russian Futurist performance 1910-1914 (University of Sheffield) formed part of an inter-institutional AHRB project, entitled ‘Russian Visual Arts, 1863-1913: Documents from the British Library Collection’, conducted by the Universities of Exeter and Sheffield.

‘This project brings the highest possible standard of scholarship to bear on avant-garde cultural production.’Maria Gough, Professor of Modern Art, Harvard University   ‘This collection opens fascinating and enriching views into a brief but powerful explosion.’The Times Literary Supplement, 2 November 2012   ‘Without doubt, it will be rewarding reading for anyone interested in Russian modernism.’Slavic Review, Summer 2013, vol. 72, no.2

• Victory Over the Sun: The World’s First Futurist OperaList of IllustrationsAcknowledgementsAbout the TextAbout the contributors                                                                                                           Introduction – Rosamund Bartlett and Sarah Dadswell                                                         Texts and Scoresi.     Biographies of the Librettists, Set Designer and Composerii.    Annotated translation of the libretto of Victory Over the Sun (translated by Rosamund Bartlett)iii.   Pobeda nad solntsem: facsimile of the original 1913 Russian publication, incorporating some fragments by Matiushiniv.   Maria Ender’s transcription of Matiushin’s original score for Victory Over the Sunv.    Contemporary reviewsvi.   ‘About the Opera Victory Over the Sun’, by Aleksei Kruchenykh           EssaysThe Russian Cubo-Futurist Opera Victory Over the Sun: Aleksei Kruchenykh’s Alogical Creation, Michaela BöhmigEntertainment and Enlightenment in Late Imperial Russian Theatre, Murray Frame   On the Eve: the Russian Stage 1911–1914, Laurence Senelick                                      Victories over the Sun: the Drama of the Russian Futurists, Robert Leach    Darkness and Light: Solar Eclipse as a Cubo-Futurist Metaphor John E. Bowlt         Kazimir Malevich and the Designs for Victory Over the Sun, Christina Lodder    Victory over the Sun – the Music, Catja Gaebel                             “Be a Spectator with a Large Ear”: Victory over the Sun as Public Laboratory Experiment for Mikhail Matiushin's Theories of Colour Vision, Margareta Tillberg Branding the Futurists, Sarah DadswellThe Collision of Italian and Russian Futurism: Marinetti’s Visit to Russia, Aurora EgidioBurnt by the Sun: the Transmutation of Performativity, Theatricality, and Framing in the Late Work of Kazimir Malevich, Anna Wexler-Katsnelson A Modern Victory: Reflections on the 1999 Staging, Julia Hollander, Director and Jeremy Arden, Composer, in conversation with Sarah DadswellNotesSelected BibliographyIndex

Rosamund Bartlett is Visiting Professor at Rose Bruford College of Theatre and Performance and Visiting Research Fellow in the Music Department at King’s College London. She is the author and editor of several books, including Wagner and Russia (1995), Shostakovich in Context (2000) and biographies of Tolstoy and Chekhov, whose works she has also translated.Sarah Dadswell is a cultural historian specializing in performance and an Honorary Research Fellow in the Department of Drama at Exeter. Her doctoral thesis on the emergence and development of Russian Futurist performance 1910-1914 (University of Sheffield) formed part of an inter-institutional AHRB project, entitled ‘Russian Visual Arts, 1863-1913: Documents from the British Library Collection’, conducted by the Universities of Exeter and Sheffield.

‘This project brings the highest possible standard of scholarship to bear on avant-garde cultural production.’Maria Gough, Professor of Modern Art, Harvard University   ‘This collection opens fascinating and enriching views into a brief but powerful explosion.’The Times Literary Supplement, 2 November 2012   ‘Without doubt, it will be rewarding reading for anyone interested in Russian modernism.’Slavic Review, Summer 2013, vol. 72, no.2

• Victory Over the Sun: The World’s First Futurist OperaList of IllustrationsAcknowledgementsAbout the TextAbout the contributors                                                                                                           Introduction – Rosamund Bartlett and Sarah Dadswell                                                         Texts and Scoresi.     Biographies of the Librettists, Set Designer and Composerii.    Annotated translation of the libretto of Victory Over the Sun (translated by Rosamund Bartlett)iii.   Pobeda nad solntsem: facsimile of the original 1913 Russian publication, incorporating some fragments by Matiushiniv.   Maria Ender’s transcription of Matiushin’s original score for Victory Over the Sunv.    Contemporary reviewsvi.   ‘About the Opera Victory Over the Sun’, by Aleksei Kruchenykh           EssaysThe Russian Cubo-Futurist Opera Victory Over the Sun: Aleksei Kruchenykh’s Alogical Creation, Michaela BöhmigEntertainment and Enlightenment in Late Imperial Russian Theatre, Murray Frame   On the Eve: the Russian Stage 1911–1914, Laurence Senelick                                      Victories over the Sun: the Drama of the Russian Futurists, Robert Leach    Darkness and Light: Solar Eclipse as a Cubo-Futurist Metaphor John E. Bowlt         Kazimir Malevich and the Designs for Victory Over the Sun, Christina Lodder    Victory over the Sun – the Music, Catja Gaebel                             “Be a Spectator with a Large Ear”: Victory over the Sun as Public Laboratory Experiment for Mikhail Matiushin's Theories of Colour Vision, Margareta Tillberg Branding the Futurists, Sarah DadswellThe Collision of Italian and Russian Futurism: Marinetti’s Visit to Russia, Aurora EgidioBurnt by the Sun: the Transmutation of Performativity, Theatricality, and Framing in the Late Work of Kazimir Malevich, Anna Wexler-Katsnelson A Modern Victory: Reflections on the 1999 Staging, Julia Hollander, Director and Jeremy Arden, Composer, in conversation with Sarah DadswellNotesSelected BibliographyIndex

Rosamund Bartlett is Visiting Professor at Rose Bruford College of Theatre and Performance and Visiting Research Fellow in the Music Department at King’s College London. She is the author and editor of several books, including Wagner and Russia (1995), Shostakovich in Context (2000) and biographies of Tolstoy and Chekhov, whose works she has also translated.Sarah Dadswell is a cultural historian specializing in performance and an Honorary Research Fellow in the Department of Drama at Exeter. Her doctoral thesis on the emergence and development of Russian Futurist performance 1910-1914 (University of Sheffield) formed part of an inter-institutional AHRB project, entitled ‘Russian Visual Arts, 1863-1913: Documents from the British Library Collection’, conducted by the Universities of Exeter and Sheffield.

‘This project brings the highest possible standard of scholarship to bear on avant-garde cultural production.’Maria Gough, Professor of Modern Art, Harvard University   ‘This collection opens fascinating and enriching views into a brief but powerful explosion.’The Times Literary Supplement, 2 November 2012   ‘Without doubt, it will be rewarding reading for anyone interested in Russian modernism.’Slavic Review, Summer 2013, vol. 72, no.2

• Victory Over the Sun: The World’s First Futurist OperaList of IllustrationsAcknowledgementsAbout the TextAbout the contributors                                                                                                           Introduction – Rosamund Bartlett and Sarah Dadswell                                                         Texts and Scoresi.     Biographies of the Librettists, Set Designer and Composerii.    Annotated translation of the libretto of Victory Over the Sun (translated by Rosamund Bartlett)iii.   Pobeda nad solntsem: facsimile of the original 1913 Russian publication, incorporating some fragments by Matiushiniv.   Maria Ender’s transcription of Matiushin’s original score for Victory Over the Sunv.    Contemporary reviewsvi.   ‘About the Opera Victory Over the Sun’, by Aleksei Kruchenykh           EssaysThe Russian Cubo-Futurist Opera Victory Over the Sun: Aleksei Kruchenykh’s Alogical Creation, Michaela BöhmigEntertainment and Enlightenment in Late Imperial Russian Theatre, Murray Frame   On the Eve: the Russian Stage 1911–1914, Laurence Senelick                                      Victories over the Sun: the Drama of the Russian Futurists, Robert Leach    Darkness and Light: Solar Eclipse as a Cubo-Futurist Metaphor John E. Bowlt         Kazimir Malevich and the Designs for Victory Over the Sun, Christina Lodder    Victory over the Sun – the Music, Catja Gaebel                             “Be a Spectator with a Large Ear”: Victory over the Sun as Public Laboratory Experiment for Mikhail Matiushin's Theories of Colour Vision, Margareta Tillberg Branding the Futurists, Sarah DadswellThe Collision of Italian and Russian Futurism: Marinetti’s Visit to Russia, Aurora EgidioBurnt by the Sun: the Transmutation of Performativity, Theatricality, and Framing in the Late Work of Kazimir Malevich, Anna Wexler-Katsnelson A Modern Victory: Reflections on the 1999 Staging, Julia Hollander, Director and Jeremy Arden, Composer, in conversation with Sarah DadswellNotesSelected BibliographyIndex