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watch!" The initial staging of the play at the Moscow Drama
Theater was very important to Andreev: in the fall of 1915 he specially came to Moscow to be present at the rehearsals, and even earlier he wrote a number of letters to some actors of this theater, in which he gave detailed explanations of the play. He pays particular attention in his comments to the character of Consuelo. In a letter to the actress E.A.Polevitskaya September 28, 1915, he stressed that the disclosure of his "one of the most important tasks of the artist and director: to show the goddess under the tinsel jockey and acrobat."
453:
in love with the horseback rider
Consuelo, but her father, Count Mancini, is intent on marrying his daughter to Baron Regnard for his money. At the end of this act a second mysterious man, known only as the "Gentleman", arrives. It is revealed that the "Gentleman", a former close friend of "He", is the cause of "He"'s marital problems, as the "Gentleman" had an affair with "He"'s wife and they now have a son. The Gentleman in hopes of repairing their relationship has been searching all over Europe for "He" for months, as his friend disappeared mysteriously after leaving an angry letter.
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believe he may be an alcoholic. To win their approval, "He" suggests that his part in the circus act could be receiving slaps from the other clowns, and that his circus name could be “He Who Gets
Slapped”. Andreyev's script keeps the audience guessing over the identity of "He", and information is divulged piecemeal over the course of the play's four acts. This construct keeps the psychological aspects of the play at the center, as the audience is constantly trying to figure out what is motivating the central character.
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886:'s scale for its performance. In his article he points to the essential conflict underlying this drama-"a masquerade where everyone's mask is fused to his skin... "He" is again a Man with a capital letter, and again next to him is a gentleman, a man of little "h." Again a clash of personality and crowd, of greatness of spirit and vulgarity. The personality is defeated. Everything he had lived with has been taken from him."
173:, "that one") whose name is never revealed to the audience. "He" is fleeing a failed marriage and joins the circus as a clown. "He" falls in love with the horseback rider Consuelo, the daughter of Count Mancini. The Count pushes Consuelo into marrying Baron Renyard for financial gain. "He" poisons Consuelo, Baron Renyard commits suicide in despair, and then "He" drinks the poison himself at the end.
882:, who usually championed Andreev's plays, gave a cold review of the play, reproaching the author's lack of clear thought, which is replaced here by many contradictory "ideas", and the abuse of external stage effects. Critic S. Goloushev was more complimentary of the play and speaks of "He" as a role that requires a tragic actor of
480:
In a letter to S. S. Goloushev of
September 10, 1915. Leonid Andreev writes: "Since August 17–18, among the pains and other things, I sat down to work," and names among other works completed during this time "He Who Gets Slaps" – "a large 4-act play for the Drama Theater. It will be great to play and
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In the third act, it is revealed that the "Gentleman" is now married to "He"'s former wife, and that he wrote a highly successful book about his affair with her that has made the "Gentleman" rich and famous. The
Gentleman appears regularly in the press with his wife and son. "He" vows never to return
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The first two productions, both Moscow and
Petrograd, were, according to theater chronicles and recollections of contemporaries, a great success with the audience. The actor llarion Nikolaevich Pevtsov in the leading role of "He" in both productions was praised universally by critics and audiences.
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The action takes place within a circus in a large city in France. In the opening scene a mysterious man, "He", approaches the circus performers and requests to join the troupe as a clown. Uncertain, the circus members recognize that the man is well educated and cultured by his speech and manner, but
452:
In the second act, "He" is an established clown in
Briquet's circus and his act has been a huge success, bringing financial prosperity to the circus troupe. However, the other performers warn "He" against talking too much about controversial political and religious topics during his act. "He" falls
448:
In the first act, Papa
Briquet, the owner of the circus, asks to see "He"'s identification in order to register his employment with the government. "He" discloses his name into Papa Briquet's ear, without revealing it to the audience. The reaction of the circus owner reveals that "He" is famous and
151:
on
October 27, 1915. Immensely popular with Russian audiences, the work received numerous stagings throughout the Russian speaking world in the two decades after its premiere, and then later enjoyed a resurgence of popularity in the 1970s and 1980s in Russian theaters. The work is still part of the
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Critical assessment in the US was positive from its initial presentation in
English in 1922. Russian studies academic Frederick H. White writes, "Andreev’s play about betrayal and revenge, seemingly, struck a chord with modern industrial America, during the unscrupulous Gilded Age of robber barons
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was one of the work's champions. In his analysis the main character "He" is "revealing of the clear outlines of an ancient myth under the guise of reality we are experiencing. Thoth, is an envoy of another, higher world, the Creator of ideas, who descended to the circus arena, again took on his
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among Russian writers is much more positive, with scholars on Andreev contending that initial criticism misinterpreted the nature of conventionality in Andreev's writing. Contemporary playwright Victoria Nikiforova notes: "Leonid Andreev's play should appeal to lovers of indie melodramas and
509:
among others. In 2002, visiting Finnish director Raija-Sinikka Rantala staged the play at the Moscow Art Theater. The title role was played by Viktor Gvozditsky, to whose 50th anniversary the premiere of the play was timed. In 2020, Moscow director Natalia Lyudskova staged the play at the
493:
staged the work the following month (premiere November 27, 1915) in a staging by Nikolai Vasilyevich Petrov. Numerous productions of the work were presented in Russia and Estonia over the next two decades, including performances in Kiev, Syzran, Voronezh, and Tallinn among others.
894:
humiliated appearance, a rabbit's eyesight, voclauned, to again accept the sourdough. Consuella is "the daughter of the people, the soul of simple-minded humanity, the charming Psyche... And the eternal story of the innocent soul, seduced by the eternal Defiler, is repeated."
152:
dramatic repertory in Russian speaking countries. While well-liked by the public, critical reaction to the work was initially negative in Russia. It was later reevaluated as a masterwork of Russian drama, and is regarded as Andreyev's finest achievement among his 25 plays.
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The work premiered at the Moscow Art Theatre on October 27, 1915 to tepid critical reviews, but tremendous popularity with audiences who applauded continuously through fourteen curtain calls. The production marked the professional debut of lauded Russian actress
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and a period of great social change due to a rapidly increasing immigrant population, a period in American history when the circus crisscrossed the country providing a vivid cultural window into this era’s complex and volatile web of historical changes."
547:
as "He" at The New Yiddish Theater (in Yiddish, Dos Naye Yidisher) in New York City. Ben-Ami would go on to perform the role in Yiddish and English in multiple production in the United States and Canada into the 1930s, including a 1929 production at the
569:. Well received, that translation has been republished 17 times since that initial publication. That translation was used for what was billed as the United States premiere (but really the English language premiere) of the play on January 9, 1922 at
614:
in New Orleans (1924). The work was regularly staged in American regional theaters during the 1920s and 1930s when Andreev was at his height of popularity in the United States; during which time his works were banned in the
701:, it used a new English language translation divided into two Acts instead of four by Guthrie’s wife, Judith Guthrie, and was performed under the title “Uneasy Laughter”. The character of “He”, played by Old Vic’s director
940:
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215:. Besides this film, the play has been adapted many times, including an earlier Russian film in 1916, a Swedish film in 1926, a novel in 1925, an opera in 1956, a 1961 television film, and a musical in 1971.
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who also wrote the French language translation of the play. His wife, Ludmilla Pitoëff, portrayed Consuelo in the production. That same year the play had its United States debut in the Yiddish language with
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In the fourth act, "He" poisons Consuelo in order to prevent her from marrying Baron Regnard and she dies. The Baron immediately commits suicide (offstage). Finally, "He" takes the poison as well, and dies.
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for performances through May 20, 1922. The production then moved back to the Garrick Theatre, where it continued to play through September 30, 1922, closing after a total of 308 performances. Starring
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192:
which was first published in 1921. The play has been staged in multiple languages internationally, but is most often performed in English outside of Russia. A 1944 English translation made for
775:; once again using Guthrie’s two act version of the play. Helpmann portrayed Funny (“He”), with Audrey Fildes as Consuelo, Margaret Diamond as Zinida, Arnold Marlé as Briquet,
1728:
873:
Margalo Gillmore (centre, seated) as Consuelo, Helen Westley (Zinida), Philip Leigh and Edgar Stehli (Tilly and Polly, musical clowns) in the 1922 Broadway production
878:
However, criticism was mostly negative about the play at the time of its premiere with the playwright being accused of "hodgepodge" and "derivation". Russian critic
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to his former life, and the Gentleman leaves. "He" focuses his attention on Consuelo, and makes an unsuccessful attempt to sabotage her engagement to Baron Regnard.
176:
On the international stage, the play became Andreyev's most successful in the United States, being popular with both audiences and critics when it was staged on
598:
mounted a national tour of the production which was directed by Joseph Gaites and was headlined once again by Richard Bennett. Among the tour's stops were the
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as Zinaida, Wolfe Barzell as Papa Briquet, Reinhold Schünzel as Baron Regnard, Russell Collins as Jim Jackson, and John M. O'Connor as Polly. Douglas won a
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theatre" in which the plot focuses on developing the internal, psychological and intellectual aspects of characters over external action. Set inside a
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by Judith Guthrie reduced the structure of the play to two acts instead of four. This version was used for the 1946 Broadway revival, the 1947
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The play received a resurgence of popularity in the Russian speaking world in the 1970s and 1980s, with productions mounted at the
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for the first time. In 1952 that theater mounted the work again in a celebrated revival directed by Oliver Marlow Wilkinson with
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Off Broadway Musicals, 1910–2007: Casts, Credits, Songs, Critical Reception and Performance Data of More Than 1,800 Shows
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Both Guthries were utilized again for a Broadway revival staged by The Theatre Guild in 1946. The production starred
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Frederick H. White (2016). "A Slap in the Face of American Taste". In Alexander Burry and Frederick H. White (ed.).
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in Baltimore in October 1923. Several more stagings of the play in English followed, including a production at the
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within a French city, the play's main character is a mysterious 39-year-old stranger (referred to as "He"; Russian
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as “Gentleman”, Gabrielle Casartelli as Consuelo, Dorie Sawyer as Zinida, Godfrey Baxter as Alfred Bezano, and
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646:; the latter of whom directed the production. In 1927 the play was mounted in London for the first time at the
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Richard Bennett as "He" (left) & Louis Calvert as Baron Regnart (right) in the 1922 Broadway production
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Photograph of Margalo Gillmore (Consuelo) and Louis Calvert (Baron Regnard) in the 1922 Broadway production
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Blood on the Stage: Milestone Plays of Crime, Mystery, and Detection: an Annotated Repertoire, 1900–1925
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production, and several other stagings in the United States and United Kingdom during the 20th century.
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respected, but the audience gains no further knowledge of the character other than he is 39 years old.
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Photograph of Margalo Gillmore, Frank Reicher and Richard Bennett in the 1922 Broadway production of
188:. That production used an English language translation of the original Russian by the psychoanalyst
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in 1926. That same year the play was mounted for the first time in the United Kingdom at the
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A Slap in the Face of American Taste: Transporting He Who Gets Slapped to American Audiences
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as Jackson, Alfie Bass as Tilly, Peter Varley as Polly, and Basil Coleman as “Gentleman”.
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1709:"ANDREYEV'S CLOWN; The Guild Ends its Season With a Revival Of 'He Who Gets Slapped'"
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after his translation drew the attention of the magazine's editor, the poet
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This article is about the 1915 play by Leonid Andreyev. For other uses, see
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as Tilly using an English language translation by Gertrude Schurhoff and
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In 1926 the Austrian premiere was given at the Modernes Theater Wien in
577:. It remained there until February 13, 1922, when it transferred to the
1370:
The Jews in the United States: A Pictorial History, 1654 to the Present
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by composer Richard Lescsak and writer LaRue Watts is mounted at the
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as "He". A critically acclaimed production directed by and starring
522:
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The success of the stage play in the US led to the development of
108:
705:, was renamed Funny in this version. Other cast member included
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In 1951 the play was mounted using Guthrie’s adaptation at the
211:
of the same name which was notably the first film ever made by
967:
670:
as “He”, Susan Dowdall as Consuelo, John McKelvey as Briquet,
534:
In 1919 the play was given its first staging in France at the
552:
which became entangled in a highly publicized labor dispute.
689:
whose players had relocated to Liverpool from London during
1486:
HEART BREAKING WEEK'S OPENING REPEATED LAST WEEK IN CHICAGO
759:
In 1947 the play was staged for the first time in London’s
606:
in Chicago in December 1922 through February 1923; and the
1606:"Oxford Playhouse High and Low Drama in a University City"
1469:. Vol. 34, no. 41. October 14, 1922. p. 23.
853:
with a new English translation by Belov was staged at the
260:"Gentleman", mysterious stranger and acquaintance of "He"
250:"He", mysterious stranger (sometimes modified to "Funny")
841:
for their production of the play which was directed by
1411:
Encyclopedia of Literary Translation Into English: A-L
1389:. Vol. 95, no. 7. May 29, 1929. p. 51.
810:
as Consuelo. In 1958 a second national tour starring
134:
101:
91:
81:
66:
56:
28:
1858:"WEEK IN THE THEATRE: He Has Rejected the World".
1488:. Vol. 49. December 8, 1922. pp. 14–15.
602:in Boston in November 1922; a 10 week run at the
143:; completed in August 1915 and first produced in
1112:. Edinburgh University Press. pp. 140–164.
826:as Consuelo. In 1985 the play was staged at the
916:ten years earlier and the heated atmosphere of
814:as “He” toured the United States. In 1964 the
674:as Count Mancini, Mary Savidge as Zinida, and
465:Composition and performance history in Russian
139:) is a play in four acts by Russian dramatist
1820:. St. Martin's Publishing Group. p. 37.
1571:PROVINCIAL PRODUCTIONS: "He Who Gets Slapped"
1337:. Vol. 64. October 28, 1921. p. 12.
518:International performances in other languages
164:
122:
8:
634:as "Gentleman", Muriel Hewitt as Consuella,
594:Following the Broadway production, producer
489:who portrayed one of the smaller roles. The
822:as “He”, Tristram Jellinek as Mancini, and
585:, the production earned glowing reviews in
318:Alfred Bezano, jockey and Consuelo's lover
47:(He) in the English-language adaptation of
1519:"BALTIMORE HIGHBROWS CLIMB TO 50c SEATS".
1191:
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604:Playhouse Theatre (now Fine Arts Building)
155:The play is representative of Andreyev's "
34:
25:
1729:"Out of Town Openings; Booth At Her Best"
1383:"Little Theatre Row Up to Stage Unions".
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662:as Mancini. In 1929 it was staged at the
538:in Paris. The production was directed by
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1525:. Vol. 72, no. 9. p. 14.
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1442:Alexander Woolcott (January 10, 1922).
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184:in 1922 in a production mounted by the
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802:directed a production of the play for
1908:Meeks, Christopher (29 August 1996).
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7:
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1229:
1227:
555:In March 1921 an American magazine,
21:He Who Gets Slapped (disambiguation)
798:as Bezano. In 1952 literary critic
681:In 1944 the play was staged at the
1463:"Long Run Dramatic Play Records".
503:Saint Petersburg Lensoviet Theatre
298:Papa Briquet, owner of the circus
51:at the Garrick Theatre on Broadway
14:
2080:He Who Gets Slapped
1875:PLAY REVIEWS: He Who Gets Slapped
1873:Darvell, Michael (Aug 22, 1985).
1610:University of Hertfordshire Press
1539:. September 23, 1926. p. 24.
1303:. September 20, 1951. p. 13.
1283:"AT LIVERPOOL: Uneasy Laughter".
1241:. Vol. 83. 1922. p. 13.
512:Pushkin State Drama Theatre Kursk
288:Count Mancini, Consuelo's father
2110:Russian plays adapted into films
1862:. November 19, 1964. p. 13.
1681:Dennis Barker (4 October 2005).
1573:. February 25, 1926. p. 8).
1198:Собрание сочинений в шести томах
767:under the artistic direction of
136:Tot, kto poluchayet poshchochiny
1910:"Review: "He Who Gets Slapped""
1289:. November 30, 1944. p. 5.
973:1925, George A. Carlin's novel
630:with Stanley Lathbury as "He",
612:Le Petit Theatre du Vieux Carre
1783:LONDON THEATRES: THE WATERGATE
1368:Morris Urman Schappes (1958).
1269:. Project Guttenberg (E-Book).
278:Baron Renyard, wealthy patron
244:January 9, 1922 – May 20, 1922
1:
1633:"ROUND THE COUNTRY: Oxford".
1372:. Citadel Press. p. 208.
991:and Bernard Stambler's opera
233:Roles, Original Broadway cast
1847:. June 12, 1958. p. 10.
1749:LONDON THEATRES: THE DUCHESS
1737:. March 8, 1947. p. 43.
1639:. March 6, 1952. p. 11.
1032:in New York city with stars
1024:musical adaptation entitled
1004:1961, a television film for
628:Birmingham Repertory Theatre
268:Consuelo, a horseback rider
1818:"Maggie Smith: A Biography"
1785:. May 31, 1951. p. 10.
1751:. June 19, 1947. p. 7.
1416:Fitzroy Dearborn Publishers
697:. Directed and produced by
362:Francois, circus performer
354:Angelica, circus performer
135:
2136:
2085:Internet Broadway Database
1301:Obituary: LUDMILLA PITOEFF
804:University College Players
124:Тот, кто получает пощёчины
18:
2115:Plays adapted into operas
2029:Amnon Kabatchnik (2008).
2018:. Hökerberg. p. 237.
1653:Remembering Ronnie Barker
792:Watergate Theatre, London
394:Pierre, circus performer
241:
238:
207:'s critically successful
165:
123:
70:27 October 1915
33:
2105:Works by Leonid Andreyev
1816:Michael Coveney (2015).
1263:Leonid Andreyev (1922).
1026:Nevertheless, They Laugh
910:anticipated the plot of
499:Russian Theatre, Tallinn
2052:McFarland & Company
1650:Richard Webber (2010).
1128:10.3366/j.ctt1bh2kpq.12
859:Culver City, California
242:Original Broadway cast,
16:Play by Leonid Andreyev
949:
897:Current assessment of
874:
531:
477:
441:
228:
2120:Plays set in circuses
2014:Inga Tidblad (1963).
1941:S. Goloushev (1915).
1196:Андреев Л.Н. (1995).
944:
872:
818:staged the work with
600:Hollis Street Theatre
525:
491:Alexandrinsky Theatre
472:
439:
344:Polly, musical clown
336:Tilly, musical clown
308:Zinida, a lion tamer
226:
1604:Don Chapman (2008).
1418:. 2000. p. 53.
1007:The Play of the Week
960:1924, American film
913:Die Zirkusprinzessin
644:Sir Barry V. Jackson
550:Cleveland Play House
507:Russian Army Theatre
1979:(January 4, 1916).
1930:. pp. 927–931.
1841:"STRAW HAT STARS".
1266:He Who Gets Slapped
994:He Who Gets Slapped
982:He Who Gets Slapped
980:1926, Swedish film
975:He Who Gets Slapped
963:He Who Gets Slapped
955:He Who Gets Slapped
953:1915, Russian film
946:He Who Gets Slapped
908:He Who Gets Slapped
899:He Who Gets Slapped
756:for her portrayal.
746:Susan Douglas Rubeš
683:Liverpool Playhouse
475:He Who Gets Slapped
413:Francis C. Sadtler
381:Charles Cheltenham
235:
213:Metro-Goldwyn-Mayer
118:He Who Gets Slapped
49:He Who Gets Slapped
29:He Who Gets Slapped
2044:Dan Dietz (2010).
1981:Мечтатель о театре
1714:The New York Times
1449:The New York Times
950:
875:
865:Critical reception
779:as Count Mancini,
744:as Baron Reynard,
740:as Count Mancini,
733:as Baron Reynard.
721:as Count Mancini,
650:in Hampstead with
608:Auditorium Theatre
588:The New York Times
532:
478:
442:
231:
229:
149:Moscow Art Theatre
86:Moscow Art Theatre
1928:Театр и искусство
1717:. March 31, 1946.
1038:Bernadette Peters
942:
889:The Russian poet
828:Riverside Studios
824:Jo Maxwell-Muller
816:Hampstead Theatre
806:starring a young
785:Stanley Ratcliffe
429:
428:
373:Katherine Wilson
326:Jackson, a clown
133:
114:
113:
92:Original language
43:(Consuelo) &
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648:Everyman Theatre
632:Ralph Richardson
563:Gregory Zilboorg
536:Théâtre des Arts
487:Faina Ranevskaya
389:William Crowell
321:John Rutherford
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190:Gregory Zilboorg
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919:Seeta Aur Geeta
904:Emmerich Kálmán
880:Alexander Kugel
867:
769:Robert Helpmann
765:Duchess Theatre
754:Donaldson Award
703:Peter Glenville
656:Frederick Lloyd
583:Richard Bennett
575:Garrick Theatre
540:Georges Pitoëff
530:as “He” in 1926
520:
467:
434:
424:
422:
418:Ballet dancers
402:A Sword Dancer
357:Helen Sheridan
272:Margalo Gilmore
254:Richard Bennett
245:
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205:Victor Sjöström
182:Garrick Theatre
141:Leonid Andreyev
82:Place premiered
73:
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61:Leonid Andreyev
52:
45:Richard Bennett
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2073:External links
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2033:. p. 251.
2021:
2006:
1983:. p. C15.
1977:Fyodor Sologub
1968:
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1612:. p. 71.
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1200:. Vol. 5.
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1034:David Holliday
1030:Lamb's Theatre
1018:
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999:Lincoln Center
985:
978:
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958:
931:
928:
906:'s operettas.
891:Fyodor Sologub
866:
863:
855:Ivy Substation
835:Hudson Theater
820:Vladek Sheybal
699:Tyrone Guthrie
640:Edward Chapman
638:as Polly, and
579:Fulton Theatre
567:Marianne Moore
526:Swedish actor
519:
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1691:. Retrieved
1689:. London, UK
1687:The Guardian
1686:
1676:
1658:Random House
1652:
1645:
1634:
1628:
1599:
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1537:VIENNA STAGE
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1284:
1265:
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1197:
1105:
1025:
1022:Off-Broadway
1016:Julie Harris
1005:
992:
984:is released.
981:
974:
961:
957:is released.
954:
945:
924:
917:
911:
907:
898:
896:
888:
876:
845:and starred
833:In 1995 the
832:
812:Alfred Drake
808:Maggie Smith
800:Peter Bayley
789:
758:
750:Stella Adler
742:John Wengraf
735:
727:Percy Heming
723:Scott Forbes
719:Noel Willman
717:as Briquet,
715:Arnold Marlé
691:World War II
680:
672:Hugh Manning
636:Alan Howland
621:
617:Soviet Union
593:
586:
556:
554:
533:
496:
483:
479:
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421:Helen Stokes
397:Philip Loeb
348:Edgar Stehli
202:
175:
170:
154:
117:
116:
115:
48:
1997:|work=
1959:|work=
1943:Утро России
1891:|work=
1799:|work=
1765:|work=
1587:|work=
1553:|work=
1502:|work=
1351:|work=
1317:|work=
1214:|work=
1144:|work=
989:Robert Ward
948:(full film)
930:Adaptations
922:by fifty."
796:Brian Cobby
783:as Bezano,
738:John Abbott
725:as Bezano,
713:as Zinida,
687:The Old Vic
668:David March
528:Gösta Ekman
405:Julia Cobb
263:John Blair
194:The Old Vic
2100:1915 plays
2094:Categories
1912:. Variety.
1444:"The Play"
1045:References
851:Yuri Belov
678:as Polly.
505:, and the
386:Conductor
74:1915-10-27
57:Written by
1999:ignored (
1989:cite book
1961:ignored (
1951:cite book
1893:ignored (
1883:cite book
1860:The Stage
1844:The Stage
1801:ignored (
1791:cite book
1767:ignored (
1757:cite book
1734:Billboard
1636:The Stage
1589:ignored (
1579:cite book
1555:ignored (
1545:cite book
1504:ignored (
1494:cite book
1466:Billboard
1353:ignored (
1343:cite book
1319:ignored (
1309:cite book
1286:The Stage
1216:ignored (
1206:cite book
1146:ignored (
1136:cite book
1020:1971, an
1010:starring
884:Chaliapin
861:in 1997.
695:The Blitz
654:as “He”,
157:panpsyche
130:romanized
106:Symbolist
1926:(1915).
1693:13 April
1238:The Cast
847:Bud Cort
843:Dan Shor
761:West End
571:Broadway
558:The Dial
198:West End
178:Broadway
2083:at the
1522:Variety
1386:Variety
837:won an
763:at the
693:due to
180:at the
147:at the
96:Russian
72: (
2058:
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1126:
1116:
987:1956,
624:Vienna
378:Usher
161:circus
1124:JSTOR
1110:(PDF)
794:with
239:Role
219:Roles
109:drama
102:Genre
2056:ISBN
2001:help
1963:help
1895:help
1822:ISBN
1803:help
1769:help
1695:2010
1662:ISBN
1614:ISBN
1591:help
1557:help
1506:help
1420:ISBN
1355:help
1321:help
1218:help
1148:help
1114:ISBN
1036:and
1014:and
771:and
432:Plot
968:MGM
857:in
685:by
573:'s
171:tot
166:тот
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
