This also means that seeing a skeleton of the play is essential, to see if the adaptation effectively translates the book to the stage. This being a new play, and an adaptation based on a translation, the main edition of the book is in English as Russia has never published the text, there is constant chopping and changing. Ultimately in this production, it’s important to get the balance right, as the big choral set pieces need to be polished and progressed, whilst progress also needs to be made on the script.
While the collective conscience of the chorus improves every day and their movements come closer to being instinctive and intuitive, consistent practice is needed to maintain this, like practising an instrument. That means our rehearsals have been split with some time afforded to working further on what we’ve already done in the first half of the play and the rest of the time spent continuing on working through the play. Less time can now be afforded to exploration, as, after all, we do have to finish the play. Signed by Author.Tangible progress is the order of the week. Adams had provided the introduction for this first English language edition. A very rare signed copy of Vladimov's most important work. Signed in Russian by Georgi Vladimov to the copyright page.
From the private library of Richard Adams, author of Watership Down, with his attractive bookplate to front pastedown endpaper. Light foxing to page edges, clean text throughout. Quarter black cloth with red paper covered boards. The first book edition was published in Russian language in West Germany in 1975. Originally distributed as a samizdat publication in the USSR. Book: First English language edition and first US edition. Overall jacket condition is Very Good Minus. Preserved in a removable jacket protector. Dust jacket: Spine faded, light foxing to flaps, a couple of short tears to edges.
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