Abstract
Virginia Woolf and Russia has been examined but not fully studied. Entirely overlooked has been her response to Russian cinema and dance, particularly the Ballets Russes. This paper addresses that gap through an account of Woolf's response to, and interest in, both Russian film and dance, while also accounting for how she incorporates her admiration of Dostoevsky, Turgenev and other Russian writers into her work. Her study and translations with the Russian Jewish émigré Samuel Koteliansky, a formative influence on her continuing absorption with matters Russian, is also analyzed, as well as the importance of Russian cinematic techniques, notably sound, drawn in part from such Russian directors as V. I. Pudovkin, as well as montage, originating with Lev Kuleshov and Sergei Eisenstein.
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