Abstract
This article presents the correspondence of director Sergei Eisenstein and composer Gavriil Popov, with whom Eisenstein collaborated on three stage and film projects during the 1930s: the play The Second Moscow (Moskva vtoraia), and two films, MMM and Bezhin Meadow (Bezhin lug). The correspondence is particularly revealing concerning Eisenstein’s practical approach to music, aspects of which shaped his later and more well-known work with composer Sergei Prokofiev.
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