Since their publication, the works of Dostoevsky have provided rich fodder for adaptations to opera, film, and drama. While Dostoevsky gave his blessing to the idea of adapting his work to other forms, he believed that "each art form corresponds to a series of poetic thoughts, so that one idea cannot be expressed in another non-corresponding form." In Multi-Mediated Dostoevsky, Alexander Burry argues that twentieth-century adaptations (which he calls "transpositions") of four of Dostoevsky's works--Sergei Prokofiev's ...
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Since their publication, the works of Dostoevsky have provided rich fodder for adaptations to opera, film, and drama. While Dostoevsky gave his blessing to the idea of adapting his work to other forms, he believed that "each art form corresponds to a series of poetic thoughts, so that one idea cannot be expressed in another non-corresponding form." In Multi-Mediated Dostoevsky, Alexander Burry argues that twentieth-century adaptations (which he calls "transpositions") of four of Dostoevsky's works--Sergei Prokofiev's opera The Gambler, Leos Janacek's opera From the Dead House, Akira Kurosawa's film The Idiot, and Adrzej Wajda's drama The Devils --follow Dostoevsky's precept by bringing to light underdeveloped or unappreciated aspects of Dostoevsky's texts rather than by slavishly attempting to recreate their sources. Burry's interdisciplinary approach gives his study broad appeal to scholars as well as to students of Russian, comparative literature, music, film, drama, and cultural studies.
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