Nikolai Erdman – författare

First Published in 1995. Russian Theatre Archive- Volume 1. Newly translated by John Freedman, Erdmans''s first biographer, Nikola Erdman''s two classic tragicomedies, ''The Warrant'' and ''The Suicide'', come to life as brilliant, eccentric and eminently performable works for the theatre as well as fascinating documents of the theatrical boom and social upheaval that took place in Russia in the 1920s. Both plays were written expressly for the great Vsevolod Meyerhold, who declared that Erdman was the heir to the rich Russian comic dramatic tradition established by Nikolai Gogol and Alexander Sukhovo-Kobylin. Meyerhold''s staging of The Warrant in 1925 was one of the most innovative and successful. His attempt to stage The Suicide in 1932 eas banned by Stalin. After being exiled to Siberia in 1933, Erdman never again wrote a full-length play. But, in The Warrant and The Suicide, Erdman''s themes- the failure of language as a reliable tool of communication, the degeneration of the human element brought on by the onslaught of mass culture, and the extraordinary, if not always heroic, resilience of the individual human being- remain as contemporary and universal as ever.

First Published in 1995. Russian Theatre Archive- Volume 1. Newly translated by John Freedman, Erdmans''s first biographer, Nikola Erdman''s two classic tragicomedies, ''The Warrant'' and ''The Suicide'', come to life as brilliant, eccentric and eminently performable works for the theatre as well as fascinating documents of the theatrical boom and social upheaval that took place in Russia in the 1920s. Both plays were written expressly for the great Vsevolod Meyerhold, who declared that Erdman was the heir to the rich Russian comic dramatic tradition established by Nikolai Gogol and Alexander Sukhovo-Kobylin. Meyerhold''s staging of The Warrant in 1925 was one of the most innovative and successful. His attempt to stage The Suicide in 1932 eas banned by Stalin. After being exiled to Siberia in 1933, Erdman never again wrote a full-length play. But, in The Warrant and The Suicide, Erdman''s themes- the failure of language as a reliable tool of communication, the degeneration of the human element brought on by the onslaught of mass culture, and the extraordinary, if not always heroic, resilience of the individual human being- remain as contemporary and universal as ever.

I used to work in PR, if you''re going to kill yourself let''s make it an event . . . You can own this, Sam. For the first time in your life you. Could be. In charge. Things are getting tough for Sam. No job, benefits stopped and stuck in a tiny flat with his girlfriend Maya and her mum. The pressure is building. It feels like there might be only one way out.But every ending is a beginning and there are plenty of people keen to capitalise on Sam''s momentous decision. From corrupt local politicians to kids trying to raise the number of views of their online videos, everyone wants a piece of Sam''s demise. It scarcely matters what Sam actually wants. Faced with the promise of immortality, what''s his life worth?Suhayla El-Bushra takes the satiric masterpiece by Nikolai Erdman and smashes it into contemporary urban Britain. It''s provocative, fast-paced and very funny.

I used to work in PR, if you’re going to kill yourself let’s make it an event . . . You can own this, Sam. For the first time in your life you. Could be. In charge. Things are getting tough for Sam. No job, benefits stopped and stuck in a tiny flat with his girlfriend Maya and her mum. The pressure is building. It feels like there might be only one way out.But every ending is a beginning and there are plenty of people keen to capitalise on Sam’s momentous decision. From corrupt local politicians to kids trying to raise the number of views of their online videos, everyone wants a piece of Sam’s demise. It scarcely matters what Sam actually wants. Faced with the promise of immortality, what’s his life worth?Suhayla El-Bushra takes the satiric masterpiece by Nikolai Erdman and smashes it into contemporary urban Britain. It’s provocative, fast-paced and very funny.

I used to work in PR, if you''re going to kill yourself let''s make it an event . . . You can own this, Sam. For the first time in your life you. Could be. In charge. Things are getting tough for Sam. No job, benefits stopped and stuck in a tiny flat with his girlfriend Maya and her mum. The pressure is building. It feels like there might be only one way out.But every ending is a beginning and there are plenty of people keen to capitalise on Sam''s momentous decision. From corrupt local politicians to kids trying to raise the number of views of their online videos, everyone wants a piece of Sam''s demise. It scarcely matters what Sam actually wants. Faced with the promise of immortality, what''s his life worth?Suhayla El-Bushra takes the satiric masterpiece by Nikolai Erdman and smashes it into contemporary urban Britain. It''s provocative, fast-paced and very funny.

A chillingly grotesque farce set in the aftermath of the Russian Revolution, banned for decades in the USSR and revived in this uproarious new version by Declan Donnellan.Moscow, 1924. The early days of the Soviet Union. Communism is everywhere - little understood but greatly feared. A landlord must pretend to be a Communist. His cook is mistaken for the missing princess Anastasia, and his lodger is threatening them with the militia.Nikolai Erdman's play The Mandate was written in 1924 and first performed in 1925 in a production directed by Vsevolod Meyerhold.This English version by acclaimed director Declan Donnellan was first performed at the National Theatre, London, in 2004, in a production directed by Donnellan.