The Master and Margarita by Bulgakov Wikipedia PDF

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The Master and Margarita

From Wikipedia, the free encyclopedia
The Master and Margarita (Russian: Ма́стер и The Master and Margarita
Маргари́та) is a novel by Mikhail Bulgakov, woven
around the premise of a visit by the Devil to the
fervently atheistic Soviet Union. Many critics[1]
consider the book to be one of the greatest novels
of the 20th century, as well as one of the
foremost Soviet satires, directed against a
suffocatingly bureaucratic social order.
Contents
1 History
2 Plot summary
3 Bulgakov Museum in Moscow
4 Major characters in The Master and
Margarita The cover of the 2001 Penguin
4.1 Contemporary Russians paperback edition features the painting
4.2 Woland and his retinue An Englishman in Moscow by Kazimir
4.3 Characters from The Master's Malevich.
novel
Author Mikhail Bulgakov
5 Themes and imagery
6 Major themes Original title Мастер и Маргарита
7 Allusions and references to other works Country Russia
8 Textual note
9 English translations Language Russian
10 Allusions and references from other Genre(s) Novel
works
Publisher Posev
11 Film, TV, theatrical, and graphic novel
adaptations Publication date 1966–1967 (in series)
12 Footnotes & 1967 (in single
13 References volume)
14 Further reading
15 External links Published in 1967
English
Media type Print (Hardback &
History Paperback)
ISBN ISBN 0141180145
Bulgakov started writing the novel in 1928. He
(Penguin paperback)
burnt the first manuscript of the novel in 1930,
seeing no future as a writer in the Soviet Union.[2] OCLC Number 37156277
The work was restarted in 1931 and in 1935 (http://worldcat.org
Bulgakov attended the Spring Festival at Spaso
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House, a party said to have inspired the ball of the

novel.[3] The second draft was completed in 1936 /oclc/37156277)
by which point all the major plot lines of the final
version were in place. The third draft was finished in 1937. Bulgakov continued to polish
the work with the aid of his wife, but was forced to stop work on the fourth version four
weeks before his death in 1940. The work was completed by his wife during 1940–1941.
A censored version (12% of the text removed and still more changed) of the book was first
published in Moscow magazine (no. 11, 1966 and no. 1, 1967).[4] The text of all the
omitted and changed parts, with indications of the places of modification, was published
on a samizdat basis. In 1967 the publisher Posev (Frankfurt) printed a version produced
with the aid of these inserts.
In Russia, the first complete version, prepared by Anna Saakyants, was published by
Khudozhestvennaya Literatura in 1973, based on the version of the beginning of 1940
proofread by the publisher. This version remained the canonical edition until 1989, when
the last version was prepared by literature expert Lidiya Yanovskaya based on all available
manuscripts.
The Mikhail Bulgakov Museum in Moscow was vandalized on December 22, 2006, allegedly
by a religious fanatic who denounced The Master and Margarita as being satanic
propaganda.[5]
Plot summary
The novel alternates among three settings. The first is 1930s Moscow, which is visited by
Satan in the guise of Woland or Voland (Воланд), a mysterious gentleman "magician" of
uncertain origin, who arrives with a retinue that includes the grotesquely dressed
"ex-choirmaster" valet Koroviev (Fagotto) (Фагот, the name means "bassoon" in Russian and
some other languages), a mischievous, gun-happy, fast-talking black cat Behemoth
(Бегемот, a subversive Puss in Boots, the name referring at once to the Biblical monster
and the Russian word for Hippopotamus), the fanged hitman Azazello (Азазелло, hinting of
Azazel), the pale-faced Abadonna (Абадонна, a reference to Abaddon) with a death-
inflicting stare, and the witch Hella (Гелла). The havoc wreaked by this group targets the
literary elite, along with its trade union, MASSOLIT (a Soviet-style abbreviation for "Masters
of Socialist Literature", but possibly interpretable as "Literature for the Masses"; one
translation of the book also mentions that this could be a play on words in Russian, which
could be translated into English as something like "LOTSALIT"), its privileged HQ
Griboyedov's House, corrupt social-climbers and their women (wives and mistresses alike) –
bureaucrats and profiteers – and, more generally, skeptical unbelievers in the human spirit.
The opening sequence of the book presents a direct confrontation between the unbelieving
head of the literary bureaucracy, Berlioz (Берлиоз), and an urbane foreign gentleman who
defends belief and reveals his prophetic powers (Woland). This is witnessed by a young and
enthusiastically modern poet, Ivan Bezdomniy (Иван Бездомный – the name means
"Homeless"). His futile attempt to chase and capture the "gang" and warn of their evil and
mysterious nature lands Ivan in a lunatic asylum. Here we are introduced to The Master, an
embittered author, the petty-minded rejection of whose historical novel about Pontius
Pilate and Christ has led him to such despair that he burns his manuscript and turns his
back on the "real" world, including his devoted lover, Margarita (Маргарита). Major
episodes in the first part of the novel include Satan's magic show at the Variety Theatre,
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satirizing the vanity, greed and gullibility of the new rich; and the capture and occupation
of Berlioz's apartment by Woland and his gang.
Part 2 introduces Margarita, the Master's mistress, who refuses to despair of her lover or his
work. She is invited to the Devil's Walpurgis Night midnight ball, then made an offer by
Satan (Woland), and accepts it, becoming a witch with supernatural powers. This coincides
with the night of Good Friday, linking all three elements of the book together, since the
Master's novel also deals with this same spring full moon when Christ's fate is sealed by
Pontius Pilate and he is crucified in Jerusalem.
The second setting is the Jerusalem of Pontius Pilate, described by Woland talking to
Berlioz and echoed in the pages of the Master's rejected novel, which concerns Pontius
Pilate's meeting with Yeshua Ha-Nozri (Иешуа га-Ноцри, Jesus the Nazarene), his
recognition of an affinity with and spiritual need for him, and his reluctant but resigned
and passive handing over of him to those who wanted to kill him.
The third setting is the one to which Margarita provides a bridge. Learning to fly and
control her unleashed passions (not without exacting violent retribution on the literary
bureaucrats who condemned her beloved to despair), and taking her enthusiastic maid
Natasha with her, she enters naked into the world of the night, flies over the deep forests
and rivers of Mother Russia; bathes, and, cleansed, returns to Moscow as the anointed
hostess for Satan's great Spring Ball. Standing by his side, she welcomes the dark celebrities
of human history as they pour up from the opened maw of Hell.
She survives this ordeal without breaking, and for her pains and her integrity she is
rewarded: Satan offers to grant Margarita her deepest wish. She chooses to liberate the
Master and live in poverty and love with him. However, neither Woland nor Yeshua thinks
this is a kind of life for good people, and the couple leaves Moscow with the Devil, as its
cupolas and windows burn in the setting sun of Easter Saturday. The Master and Margarita
leave and as a reward for not having lost their faith they are granted "peace" but are
denied "light", i.e. salvation.
Bulgakov Museum in Moscow

Bulgakov's old flat, in which parts of The Master and
Margarita are set, has since the 1980s become a gathering
spot for Bulgakov's fans, as well as Moscow-based Satanist
groups, and had various kinds of graffiti scrawled on the
walls. The numerous paintings, quips, and drawings were
completely whitewashed in 2003. Previously the best drawings
were kept as the walls were repainted, so that several layers
of different colored paints could be seen around the best
drawings. The building's residents, in an attempt to deter Bulgakov Museum in
loitering, are currently attempting to turn the flat into a Moscow
museum of Bulgakov's life and works. To date (February,
2005), they have had trouble contacting the flat's anonymous owner.[6]
On December 22, 2006, the museum in Bulgakov's flat was damaged by an anti-satanist
protester and disgruntled neighbor, Alexander Morozov.[7][8]
The Bulgakov museum in Moscow remains open and contains personal belongings, photos,
and several exhibitions related to Bulgakov's life and his different works. There is a
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fantastic museum and different poetic and literary events are often being held in the flat.
The museum's web site (http://www.bulgakovmuseum.ru/) is only available in Russian but
the entrance is free and its opening hours are 1 p.m. - 7 p.m. The flat is located close to
Mayakovskaya metro station on the Sadovaya street, 10 (http://maps.mail.ru
/msk/default.asp?idx=5941&idy=11125&idl=%D1%E0%E4%EE%E2%E0%FF%20%C1.%20%F3
%EB.,%2010|Bolshaya) .
Major characters in The Master and Margarita

Contemporary Russians
The Master
An author who has written a novel about the meeting of Pontius Pilate and Yeshua
Ha-Nozri (Jesus of Nazareth). Put away in a psychiatric clinic, where Bezdomny meets
him.
Margarita
The Master's lover. Trapped in a passionless marriage; devoted herself to The Master,
who she believes is dead. Does not appear until second half of the novel, where she
serves as the hostess of Satan's Grand Ball on Walpurgis Night. She is named after
Faust's Gretchen – whose real name is Margarita – as well as Marguerite de Valois.
Marguerite was the main character in an opera, Les Huguenots by Giacomo Meyerbeer
which Bulgakov particularly enjoyed, and a novel by Alexandre Dumas, père, La Reine
Margot. In these accounts the queen is portrayed as daring and passionate. The
character was also inspired by Bulgakov's last two wives, the first of whom loved
action and was physically daring, while the last was devoted to his work in the same
way as Margarita is to the Master.
Mikhail Alexandrovich Berlioz
Head of the literary bureaucracy MASSOLIT, sentenced by Woland to death for his
atheistic sentiment. He bears the last name of the French composer, Hector Berlioz
who wrote the opera the Damnation of Faust. Got hit by a streetcar.
Ivan Nikolayevich Ponyryov (Bezdomny)
A young, aspiring poet. His pen name Bezdomny means "homeless". Initially a willing
tool of the MASSOLIT apparatus, he is transformed by the events of the novel.
Witnesses Berlioz's death.
Stephan Bogdanovich Likhodeyev
Director of the Variety Theatre and Berlioz's roommate. Often called by diminutive
name Styopa.
Grigory Danilovich Rimsky
Treasurer of the Variety Theatre. At one point, Rimsky is ambushed by Varenukha
(who has been cursed with the dark form of a vampire by Woland). He barely escapes
the encounter and he is forced to flee to the train station to get away. The night of
Woland's performance is the same night that Rimsky and the ghost meet.
Ivan Savelyevich Varenukha
House-manager of the Variety Theatre. He is turned into a creature of darkness but is
forgiven by the end of Walpurgistnacht - restoring his humanity.
Natasha
Margarita's maid, later turned into a witch.
Nikanor Ivanovich Bosoy
Chairman of the House Committee at 302B Sadovaya Street-former residence of
Berlioz.
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Woland and his retinue
Woland
A "foreign professor" who is "in Moscow to present a performance of 'black magic' and
then expose its machinations". The exposure (as one could guess) never occurs,
instead Woland exposes the greed and bourgeois behaviour of the spectators
themselves. Satan in disguise.
Behemoth
An enormous (said to be as large as a hog) black cat, capable
of standing on two legs and talking. He has a penchant for
chess, vodka and pistols. In Russian, "Begemot". The word
itself means hippopotamus in Russian as well as the Biblical
creature.
Koroviev/Fagotto
A purported "ex-choirmaster"; this may imply that Koroviev
was once a member of an angelic choir. Woland's assistant.
Azazello
A menacing, fanged and wall-eyed member of Woland's
Behemoth, Kiev,
retinue. Andriyivskyy Descent
Hella
Beautiful, redheaded witch. Serves as maid to Woland and his
retinue. Remarked as being "perfect, were it not for a purple scar on her neck" – the
scar suggesting that she is also a vampiress.
Abadonna
The pale-faced, black-goggled angel of death.
Characters from The Master's novel
Pontius Pilate
The Roman Procurator of Judaea, a procurator in this case being a governor of a small
province.
Yeshua Ha-Nozri
Wanderer, "mad philosopher", as Pilate calls him, whose name means Jesus of
Nazareth, though some commentators dispute the "of Nazareth" interpretation.[9]
Aphranius
Head Of the Roman Secret Service in Judaea.
Matthew Levi
A Levite and former tax collector. Follower of Yeshua.
Joseph Kaifa
The High Priest of Judaea
Judas Iscariot
Testified against Yeshua thus causing him to be sentenced to death; later killed on
Pilate's orders.
Themes and imagery

Ultimately, the novel deals with the interplay of good and evil, innocence and guilt,
courage and cowardice, exploring such issues as the responsibility towards truth when
authority would deny it, and the freedom of the spirit in an unfree world. Love and
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sensuality are also dominant themes in the novel. Margarita's devotional love for the
Master leads her to leave her husband, but she emerges victorious. Her spiritual union with
the Master is also a sexual one. The novel is a riot of sensual impressions, but the
emptiness of sensual gratification without love is emphatically illustrated in the satirical
passages. However, the stupidity of rejecting sensuality for the sake of empty
respectability is also pilloried in the figure of the neighbour who becomes Natasha's
hog-broomstick. The interplay of fire, water, destruction and other natural forces provides
a constant accompaniment to the events of the novel, as do light and darkness, noise and
silence, sun and moon, storms and tranquility, and other powerful polarities. There is a
complex relationship between Jerusalem and Moscow throughout the novel, sometimes
polyphony, sometimes counterpoint.
The novel is heavily influenced by Goethe's Faust, and its themes of cowardice, trust,
intellectual curiosity, and redemption are prominent. Part of its literary brilliance lies in
the different levels on which it can be read, as hilarious slapstick, deep philosophical
allegory, and biting socio-political satire critical of not just the Soviet system but also the
superficiality and vanity of modern life in general – jazz is a favourite target, ambivalent
like so much else in the book in the fascination and revulsion with which it is presented.
But the novel is also full of modern amenities like the model asylum, radio, street and
shopping lights, cars, lorries, trams, and air travel. There is little evident nostalgia for any
"good old days" – in fact, the only figure in the book to even mention Tsarist Russia is Satan
himself. In another of its facets, perhaps showing a different aspect of Goethe's influence,
the book is a Bildungsroman with Ivan as its focus. Furthermore, there are strong elements
of Magical Realism in the novel.
A memorable and much-quoted line in The Master and Margarita is: "manuscripts don't burn"
(Russian: рукописи не горят). The Master is a writer who is plagued by both his own mental
problems and the oppression of Stalin's regime in the Moscow of the 1930s. He burns his
treasured manuscript in an effort to hide it from the Soviet authorities and cleanse his own
mind from the troubles the work has brought him. Woland later gives the manuscript back
to him saying, "Didn't you know that manuscripts don't burn?" There is an autobiographical
element reflected in the Master's character here, as Bulgakov in fact burned an early copy
of The Master and Margarita for much the same reasons.
Major themes
The ironies of the relationship between social power and Art are essential to the dramatic
tension in the book. Shelley remarks in "A Defence of Poetry" that "poets are the
unacknowledged legislators of the world", and as a poet/writer, the Master is so
unacknowledged that he feels more at home in a lunatic asylum than in society, where he
is subject to the whims of the actual legislators of the world, such as the bureaucrats of
Massolit and their political masters. But the whole novel is directed at demonstrating to
what it depicts as the corrupt philistines in power that they are less in control than they
might wish. Above all they have no control over death or the spirit. They might mobilize
the forces of darkness themselves, but fall short in a face-to-face contest with the Prince
of Darkness – and contests of this kind provide the content of most of the Moscow chapters
of the first part of the novel. It is notable that Bulgakov attacks no actual political leaders.
His targets are all minions of one kind or another, albeit comfortably placed minions, like
Berlioz, the head of Massolit, the literary bureaucracy. Despite the grand gestures of
universality – darkness and light, the world and the stars, historical and geographical range
– the novel is to a great extent a psycho-drama playing itself out in the literary world. The
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protagonists are the Academy and Bohemia. Even Pilate and Christ clash on these terms of
authority vs authenticity. Bulgakov induces a "willing suspension of disbelief" almost as
effective as the tricks pulled off in the Variety by Woland, Fagotto the valet and Behemoth
the cat. Georg Lukacs's remarks on naturalism and modernism in the references given below
are relevant to this novel, too – focus on either the close-up surface texture of society, or
the distant mystery of the stars at night. Treating the doings of a narrow circle as affairs of
universal significance, and so on.
An allegorical/satirical aspect of the first part of the book that needs a lot more
exploration is its treatment of the Seven Deadly Sins in Stalinist Moscow and the way
Bulgakov makes the punishment fit the crime. For example, in Berlioz, atheist Pride gets
its head sliced off. The Vanity of the nouveau riche bureaucrats and their wives evaporates
to expose their nakedness after the orgy of flashy new clothes at Woland's variety show. A
hoarder is humiliated for his Avarice. Gribodev's restaurant is a mecca of Gluttony.
The portrayal of women shares this "cosmic" contrast in perspectives, too (exploited to
great dramatic effect). Natasha seeks her freedom in witchdom, and Margarita flees
respectability (submission to authority) to devote herself to the service of her lover
(authenticity). She saves him, as Gretchen saves Faust in Goethe's plays, but likewise only
because of the heroic challenge he has mounted to the "peace of the graveyard". "Das ewig
Weibliche zieht uns hinan", Goethe wrote at the end of Faust – "the eternal feminine draws
us onward" – and the feeling is the same in The Master and Margarita. Most of the other
female characters in the book are wives or mistresses of males in positions with some
social clout.
Allusions and references to other works

The novel is influenced by the Faust legend, particularly the first part of the Goethe
interpretation and the opera by Charles Gounod. Also the work of Nikolai Gogol is a heavy
influence, as is the case with many of Bulgakov's novels. The dialogue between Pontius
Pilate and Yeshua Ha-Nozri is strongly influenced by Fyodor Dostoyevsky's parable "The
Grand Inquisitor" from The Brothers Karamazov. [10] The novel references Tolstoy's Anna
Karenina in the luckless visitors chapter "everything became jumbled in the Oblonsky
household". The theme of the Devil exposing society as an apartment block, as it could be
seen if the entire facade would be removed, has some precedents in The Crippled Devil
(1641) by the Spaniard Luís Vélez de Guevara (famously adapted to 18th century France by
Lesage's Le Diable boiteux).
Textual note
The final chapters are late drafts that Bulgakov pasted to the back of his manuscript; he
died before he could incorporate these chapters into a completed fourth draft.
English translations
There are quite a few published English translations of The Master and Margarita, including
but not limited to the following:
Mirra Ginsburg, New York: Grove Press, 1967.

Michael Glenny, New York: Harper & Row, 1967; London: Harvill, 1967; with
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introduction by Simon Franklin, New York: Knopf, 1992; London: Everyman's Library,
1992.
Diana Burgin and Katherine Tiernan O'Connor, annotations and afterword by Ellendea
Proffer, Ann Arbor: Ardis, 1993, 1995.
Richard Pevear and Larissa Volokhonsky, London: Penguin, 1997.
Michael Karpelson, Lulu Press, 2006.
Hugh Aplin, One World Classics, 2008. ISBN 978-1-84749-014-8
Ginsburg's translation was from a censored Soviet text and is therefore incomplete.
The early translation by Glenny runs more smoothly than that of the modern translations;
some Russian-speaking readers consider it to be the only one creating the desired effect,
though it may be somewhat at liberty with the text.[11] The modern translators pay for
their attempted closeness by losing idiomatic flow.
However, according to Kevin Moss, who has at least two published papers on the book in
literary journals, the early translations by Ginsburg and Glenny are quite hurried and lack
much critical depth.[12] As an example, he claims that the more idiomatic translations miss
Bulgakov's "crucial" reference to the devil in Berlioz's thought:
"I ought to drop everything and run down to Kislovodsk." (Glenny)

"It's time to throw everything to the Devil and go to Kislovodsk." (Burgin, Tiernan
O'Connor)
"It's time to send it all to the devil and go to Kislovodsk." (Pevear, Volokhonsky)
"To hell with everything, it's time to take that Kislovodsk vacation." (Karpelson)
Several literary critics have hailed the Burgin/Tiernan O’Connor translation as the most
accurate and complete English translation, particularly when read in tandem with the
matching annotations by Bulgakov’s biographer, Ellendea Proffer.[13] Note that these
judgements predate the translation by Pevear and Volokhonsky.
Limited information is available, at the time of this writing, regarding the 2006 Karpelson
translation.
The new graphic novel published by British publishing house Self Made Hero, adapted by
Andrzej Klimowski and Danusia Schejbal, provides a fresh visual translation/interpretation
of the original.
Allusions and references from other works

Various authors and musicians have credited The Master and Margarita as inspiration for
certain works.
Salman Rushdie's novel The Satanic Verses, was influenced by Bulgakov's masterwork.
It is claimed that Mick Jagger was inspired by the novel in writing the song "Sympathy
for the Devil".[1] (http://dir.salon.com/story/ent/masterpiece/2002/01
/14/sympathy/index.html) , [2] (http://www.rollingstone.com/news/story/6595877
/sympathy_for_the_devil)
The grunge band Pearl Jam were influenced by the novel's confrontation between
Yeshua Ha-Nozri and Pontius Pilate for the song, "Pilate" on their 1998 album "Yield".
The Lawrence Arms based their album The Greatest Story Ever Told on the book and
several of its themes.
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The Franz Ferdinand song "Love and Destroy" was based on a scene where Margarita
flies over Moscow on her way to the Walpurgis Night Ball.
The Canadian group The Tea Party also were inspired by this book when they wrote
their song "The Master and Margarita."
Arlie Carstens sings the line "Bulgakov to Woland's crowd," on the Juno song "The
French Letter" from their album A Future lived in Past Tense.
Elefant, a New York City-based group, released The Black Magic Show in April 2006.
The title and first track reference Satan's magic show.
Brakes's song "Margarita" from the album The Beatific Visions was inspired by the
novel.
The German composer York Höller's opera Der Meister und Margarita was premiered in
1989 at the Paris Opéra and released on CD in 2000.
Jolie Holland has said that the song "Amen" from her album Escondida was inspired by
the book (Margarita's flight), and that she would devote an album to it in the future.
Surrealist artist H. R. Giger named a 1976 painting of his after the novel. The painting
was later featured on the cover of Danzig's 1992 album Danzig III: How the Gods Kill.
In the videogame Grand Theft Auto 4, a mission is entitled "The Master and The
Molotov", in which you kill a Russian man named Mikhail Faustin.
Ogan Gurel's novel Waves, a 21st century version of the Faust legend, was inspired by
The Master and Margarita. In addition to sharing the Faustian theme, Waves, like The
Master and Margarita has a frame narrative structure. The phrase 'рукописи не горят'
('manuscripts don't burn') is referenced in Chapter 30 of Waves.
In Alan Moore's V for Vendetta, V quotes "Please allow me to introduce myself, I am a
man of wealth and taste." when he confronts Bishop Anthony Lilliman.
Film, TV, theatrical, and graphic novel adaptations

In November 1989, Roman Polanski was approached by Warner Bros to adapt and
direct a film version of the novel. The project was subsequently dropped by Warners
due to budgetary concerns and the studio's belief that the subject matter was no
longer relevant due to the fall of the Berlin wall. Polanski has described his script as
the best he has ever adapted.
1971: Polish director Andrzej Wajda makes a movie Pilate and Others for German TV,
based on biblical part of the book ('The Master's manuscript').[14]
1972: Joint Italian-Yugoslavian production of Aleksandar Petrović's "The Master and

Margaret" (Italian: "Il Maestro e Margherita", Serbo-Croatian: "Majstor i Margarita") is
released. Based loosely on the book, the main discrepancy is that Master in the movie
has an actual name of Nikolaj Afanasijevic Maksudov, while in the original book
Master is persistently anonymous.[15]
1978: Stage production directed by Andrei Serban at the New York Public Theater,
starring John Shea. This seems to be the version revived in 1993 (see below).
c.1982 stage production at the Taganka Theater in Moscow
1989: Another Polish director Maciej Wojtyszko makes "Mistrz i Małgorzata", mini-TV
series of four episodes.[16] They have been aired on Russian TV at least once.
1992: In an adaptation called "Incident in Judaea" by Paul Bryers, only the Yeshua
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story is told. The film includes a prologue which mentions Bulgakov and the other
story-lines. The cast includes John Woodvine, Mark Rylance, Lee Montague and Jim
Carter. The film was distributed by Brook Productions and Channel 4.
1993: The Theatre for the New City produced a stage adaptation in New York City,
originally commissioned by Joseph Papp and the Public Theatre. The adaptation was
by Jean-Claude van Italie. It was directed by David Willinger and featured a cast of 13
including Jonathan Teague Cook as Woland, Eric Rasmussen as Matthew Levi, Cesar
Rodriguez as Yeshua Ha Nozri, Eran Bohem as The Master and Lisa Moore as Margarita.
This version was published by Dramatists Play Service, Inc. A French version using part
of van Itallie’s text was performed at the Theatre de Mercure, Paris, directed by
Andrei Serban.
1994: A Russian movie of the same name is made by Yuri Kara. Although the cast
included big names and talented actors (Anastasiya Vertinskaya as Margarita, Mikhail
Ulyanov as Pilate, Nikolai Burlyayev as Yeshua, Valentin Gaft as Woland, Aleksandr
Filippenko as Korovyev-Fagot) and its score was by the noted Russian composer Alfred
Schnittke, the movie was never actually released on any media. The grandson of
Bulgakov's third wife Elena Sergeevna Shilovskaya claims, as a self-assigned heir, the
rights on Bulgakov's literary inheritance and refuses the release. Since the beginning
of 2006, however, copies of the movie exist on DVD. Some excerpts of it can be
viewed on the Master and Margarita (http://www.masterandmargarita.eu/)
website.[17]
A German language stage adaptation of the novel, "Der Meister und Margarita",
directed by Frank Castorf (http://de.wikipedia.org/wiki/Frank_Castorf) premiered in
the summer of 2002 at the Wiener Festwochen (http://de.wikipedia.org
/wiki/Wiener_Festwochen) , Vienna, Austria, and is discussed in the
August/September 2002 or 08|09 02 issue (http://www.theaterheute.de/2004-
fr.html) of the German language theater magazine, Theater heute
(http://de.wikipedia.org/wiki/Theater_heute) . (Use the Archive link on the left at
the above site to access information for 2002 issues.)
2004: The National Youth Theatre produces a stage adaptation at the Lyric
Hammersmith London, directed by John Hoggarth. The adaptation is by David Rudkin.
It features a cast of 35, most notably Matt Smith as Basoon, Tom Allen as Woland,
Luke Rabbito as Matthew Levi, Shane Zaza as Yeshua Ha Nozri, John Hollingworth as
The Master, Shakira Brooking as Margarita. It ran for a month, in August and
September.
An adaptation of the novel by director Steven Pimlott was staged in 2004 at the
Chichester Festival Theatre, UK.[3] (http://www.socialaffairsunit.org.uk
/blog/archives/000151.php) The cast included Samuel West and the production
included incidental music by (one of Pimlott's regular composers) Jason Carr.
2005: The Master and Margarita miniseries – Russian director Vladimir Bortko, famous
for his TV adaptation of Bulgakov's Heart of a Dog and Dostoyevsky's The Idiot, makes
a Master and Margarita TV miniseries of ten episodes. The miniseries was first
released on December 19, 2005. It starred Aleksandr Galibin as The Master, Anna
Kovalchuk as Margarita, Oleg Basilashvili as Woland, Aleksandr Abdulov as Korovyev-
Fagot, Kirill Lavrov as Pontius Pilate, Valentin Gaft as Kaifa, Sergey Bezrukov as
Yeshua. The project was widely successful, and is considered as the closest to the
10 of 14 04.12.2009 20:31
book.. However reviews were mixed, as many critics found it too archaic and lifeless.
On August 25, 2006, Andrew Lloyd Webber announced that he aimed to turn the novel
into "a stage musical or, more probably, an opera".[18] However, in 2007 The Stage,
an online theater website, confirmed that he has abandoned his attempt to compose
a musical version of The Master and Margarita by Mikhail Bulgakov. “I’ve decided that
it’s undoable. It’s just too difficult for an audience to contemplate. It’s a very
complicated novel.”
In October 2006 it was staged by Grinnell College, directed by Veniamin Smekhov.
In 2006 almost 5 hour long adaptation was staged by Georgian director Avtandil
Varsimashvili.
In 2007, National Academy of Theatre, Ballet and Opera of Ukraine premiered The
Master and Margarita, a ballet-phantasmagoria in two acts with music by
Shostakovich, Berlioz, Bach, et al. Choreography and staging by David Avdysh
(Russia), set design by Simon Pastukh (USA) and costume design by Galina Solovyova
(USA).
In 2007, Helsinki, Finland. Production is put on stage under the name "Saatana saapuu
Moskovaan" (Satan comes to Moscow) by the group theatre Ryhmäteatteri [4]
(http://www.ryhmateatteri.fi) , directed by Finnish director Esa Leskinen. Eleven
talented actors played in 26 separate roles in the amazing and successful theathrical
performance of three hours during the season 25.9.2007 - 1.3.2008.
In 2007, Alim Kouliev in Hollywood with The Master Project production started
rehearsals on stage with his own stage adaptation of Mikhail Bulgakov’s novel The
Master and Margarita.[19] The production was announced for October 14, 2007 but was
postponed. Some excerpts and information of it can be viewed on the Master and
Margarita (http://www.masterandmargarita.eu//en/05media/masterproject.html)
website.[20] The production is still in progress.[21]
The book was adapted into a graphic novel in 2008 by Andrzej Klimowski and Danusia
Schejbal.[22]
2009 Scott Steindorff owns and controls the worldwide motion picture rights. He is
currently adapting the novel to film with plans to begin filming March of 2010
2010 Stage production directed by Christoffer Berdal at Aarhus Theatre, Denmark.
Footnotes
1. ^ The Sword and the Shield: The Mitrokhin http://books.google.com
Archive and the Secret History of the KGB /books?id=ehaZrlRY_YgC&pg=RA1-PA102&
(http://www.nytimes.com/books/first dq=master+and+margarita+burned+1930&
/a/andrew-sword.html) client=opera.
2. ^ Neil Cornwell, Nicole Christian (1998). 3. ^ Spaso House: 75 Years of History
Reference guide to Russian literature (http://moscow.usembassy.gov
(http://books.google.com /spasohistory.html) , U.S. Embassy
/books?id=ehaZrlRY_YgC&pg=RA1-PA102& Moscow website
dq=master+and+margarita+burned+1930& (http://moscow.usembassy.gov/)
client=opera) . Taylor & Francis. 4. ^ "Master: Russian Editions
11 of 14 04.12.2009 20:31
(http://cr.middlebury.edu/public/russian ISBN 0-8101-1212-4.

/Bulgakov/public_html/RUeditions.html) 14. ^ Pilatus und andere – Ein Film für
". http://cr.middlebury.edu/public Karfreitag (http://www.imdb.com/title
/russian/Bulgakov/public_html /tt0069088/) at the Internet Movie
/RUeditions.html. Retrieved 2007-01-23. Database
5. ^ Yahoo! News (2006-12-25). "Russian 15. ^ Il maestro e Margherita (1972)
writer's museum sacked by critic of (http://www.imdb.com/title/tt0068894/)
'Satanic' work (http://news.yahoo.com at the Internet Movie Database
/s/afp/20061225/ennew_afp 16. ^ "Mistrz i Malgorzata" (1990)
/afpentertainmentrussia) ". (http://www.imdb.com/title/tt0405571/)
http://news.yahoo.com/s/afp/20061225 at the Internet Movie Database
/ennew_afp/afpentertainmentrussia. 17. ^ Master i Margarita (1994)
Retrieved 2007-01-23. (http://www.imdb.com/title/tt0110476/)
6. ^ Stephen, Chris. "Devil-worshippers at the Internet Movie Database
target famous writer's Moscow flat". The 18. ^ Andrew Lloyd Webber (2006-08-25).
Irish Times, Saturday, February 5, 2005. "Revealed: My next project!
Page 9. (http://www.andrewlloydwebber.com
7. ^ Bulgakov house destroyed /sections/news/newsdb.php?article=13&
(http://www.masterandmargarita.eu section=news) ".
/en/00start/nieuws http://www.andrewlloydwebber.com
/061224vandalisme.html) , 2006-12-24 /sections/news/newsdb.php?article=13&
8. ^ Alexander Alexandrovich Morozov section=news. Retrieved 2007-01-23.
(http://www.masterandmargarita.eu 19. ^ "United state Copyright Office. Kouliev
/en/02themas/tegenstanders.html) Alim. Master and Margarita.
9. ^ Yeshua Ha-Notsri K.PAu003336612
(http://cr.middlebury.edu/public/russian (http://cocatalog.loc.gov/cgi-bin
/Bulgakov/public_html/Yeshua.html) , /Pwebrecon.cgi?Search_Arg=Kouliev+Alim&
Kevin Moss Search_Code=NALL&
(http://community.middlebury.edu PID=YO70B7Xb8HsCujan8D5YNdq6p&
/~moss/) SEQ=20091010161310&CNT=25&HIST) ".
10. ^ Susan Amert (2002) (PDF). The Dialectics USA copyright office f.
of Closure in Bulgakov's Master and http://cocatalog.loc.gov/cgi-bin
Margarita /Pwebrecon.cgi?Search_Arg=Kouliev+Alim&
(http://www.masterandmargarita.eu Search_Code=NALL&
/archieven/endings.pdf) . PID=YO70B7Xb8HsCujan8D5YNdq6p&
http://www.masterandmargarita.eu SEQ=20091010161310&CNT=25&HIST.
/archieven/endings.pdf. Retrieved Retrieved 2009-10-10.
2009-03-23. 20. ^ "The Master and Margarita Project.
11. ^ Sarvas, Mark. "The Elegant Variation: A (http://www.masterandmargarita.org/) ".
Literary Weblog masterandmargarita.org.
(http://marksarvas.blogs.com/elegvar http://www.masterandmargarita.org/.
/2003/12/master_margarit.html) ". Retrieved 2009-10-10.
http://marksarvas.blogs.com/elegvar 21. ^ "The Devil World in The City of Angels
/2003/12/master_margarit.html. (http://www.stihi.ru/2009/04/07/7575) "
Retrieved 2006-10-25. (in Russian). stihi.ru. http://www.stihi.ru
12. ^ Moss, Kevin. "Published English /2009/04/07/7575. Retrieved October
Translations (http://cr.middlebury.edu 10, 2009.
/public/russian/Bulgakov/public_html 22. ^ "The Master and Margarita: A graphic
/Engeditions.html) ". novel by Mikhail Bulakov
http://cr.middlebury.edu/public/russian (http://entertainment.timesonline.co.uk
/Bulgakov/public_html/Engeditions.html. /tol/arts_and_entertainment/books
Retrieved 2006-10-25. /fiction/article3901149.ece) ". The Times
13. ^ Weeks, Laura D. (1996). Master and Online.
Margarita: A Critical Companion. http://entertainment.timesonline.co.uk
Northwestern University Press. pp. 244. /tol/arts_and_entertainment/books
12 of 14 04.12.2009 20:31
/fiction/article3901149.ece. Retrieved 2009-04-15.
References
G. Lukacs, Studies in European Realism, (Merlin, 1973)
G. Lukacs, The Meaning of Contemporary Realism, (Merlin, 1974)
Further reading
Reidel-Schrewe, Ursula, "Key and Tripod in Mikhail Bulgakov's Master and Margarita",
Neophilologus journal, v.79, n.2, April 1995, p. 273-282.
Tumanov, Vladimir. "Diabolus ex Machina - Bulgakov's Modernist Devil." Scando-
Slavica 35: 49-61.[5] (http://publish.uwo.ca/~vtumanov/Articles_files
/Diabolus%20ex%20Machina%20-%20Bulgakov%27s%20Modernist%20Devil.pdf)
External links
(English) (French) (Dutch) (Russian) Master and Margarita
(http://www.masterandmargarita.eu/) Amateur site, devoted solely to Bulgakov's
Master and Margarita
(Russian) Bulgakov museum in Moscow. The Odd Flat
(http://www.bulgakovmuseum.ru//)
(Russian) Diary of Bulgakov museum in Moscow (http://community.livejournal.com
/bulgakovmuseum///)
(Russian) Bulgakov museum in Russian Wikipedia (http://ru.wikipedia.org/wiki/
%D0%93%D0%BE%D1%81%D1%83%D0%B4%D0%B0%D1%80%D1%81%D1%82%D0%B2%D0%B5
%D0%BD%D0%BD%D1%8B%D0%B9_%D0%BC%D1%83%D0%B7%D0%B5%D0%B9_%D0%B8
%D0%BC._%D0%9C.%D0%90.%D0%91%D1%83%D0%BB%D0%B3%D0%B0%D0%BA%D0%BE
%D0%B2%D0%B0)
Bulgakov and The Master and Margarita (http://cr.middlebury.edu/public/russian
/Bulgakov/public_html/) : Useful introduction with lots of illustrative material
The Master and Margarita (http://bulgakow.chkebelski.de/texts_e.html) : Excerpts
in three languages
Russians Await a Cult Novel's Film Debut With Eagerness and Skepticism
(http://www.nytimes.com/2005/12/19/arts/television
/19mast.html?ex=1292648400&en=82110602fa73fdd6&ei=5090&partner=rssuserland&
emc=rss) : at The New York Times
Master and Margarita (http://www.imdb.com/title/tt0403783/) at the Internet
Movie Database
Retrieved from "http://en.wikipedia.org/wiki/The_Master_and_Margarita"
Categories: 1966 novels | Russian comedy and humour | Russian novels | Novels first
published in serial form | Works by Mikhail Bulgakov | Magic realism novels | Posthumous
works | Books critical of communism and communists | Fictional demons | Fictional stage
magicians | Russia in fiction | Literature featuring anthropomorphic characters
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The Master and Margarita - Wikipedia, the free encyclopedia http://en.wikipedia.org/w/index.php?title=The_Master_and_Margar...

The Master and Margarita

House, a party said to have inspired the ball of the

Bulgakov Museum in Moscow

Major characters in The Master and Margarita

Woland and his retinue

Characters from The Master's novel

Themes and imagery

Allusions and references to other works

Mirra Ginsburg, New York: Grove Press, 1967.

"I ought to drop everything and run down to Kislovodsk." (Glenny)

Allusions and references from other works

Film, TV, theatrical, and graphic novel adaptations

1972: Joint Italian-Yugoslavian production of Aleksandar Petrović's "The Master and

c.1982 stage production at the Taganka Theater in Moscow

2010 Stage production directed by Christoffer Berdal at Aarhus Theatre, Denmark.

(http://cr.middlebury.edu/public/russian ISBN 0-8101-1212-4.

/fiction/article3901149.ece. Retrieved 2009-04-15.

This page was last modified on 25 November 2009 at 02:44.

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