Advertisement

Stage and Auditorium in the Russian Modernist Theatre

  • Lars Kleberg
Chapter
Part of the New Directions in Theatre book series (NDT)

Abstract

Although most currents in Russian theatre from naturalism in the 1890s to constructivism in the 1920s seem to have embraced the myth of the representative auditorium, this in no way means that they had a common notion as to how the stage would confront this auditorium. On the contrary, the ‘representative’ view of the audience served as the starting point for a number of widely different conceptions of the ideal relationship between stage and auditorium.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. 5.
    Lars Kleberg, ‘Sootnoshenie stseny i zritel’nogo zala. K tipologii russkogo teatra nachala XX veka’, Scando-Slavica, 20 (1974), pp. 27–38.Google Scholar
  2. 7.
    See Lars Kleberg, ‘“People’s Theatre” and the Revolution’, in Nilsson (ed.), Art, Society, Revolution, pp. 179–97; Bernice Glatzer Rosenthal, ‘Theatre as Church: The Vision of the Mystical Anarchists’, Russian History, 4, pt. 2 (1977), pp. 122–41.CrossRefGoogle Scholar
  3. 11.
    Krizis teatra (Moscow, 1908). See also the poet Alexander Blok’s 1908 essay ‘O teatre’, in his Sobranie sochinenii, vol. 5 (Moscow-Leningrad, 1962), pp. 241–76.Google Scholar
  4. 17.
    For descriptions of revolutionary mass spectacles, see V. Rafalovich (ed.), Istoriia sovetskogo teatra, 1 (Leningrad, 1933), pp. 264–90Google Scholar
  5. František Déak, ‘Russian Mass Spectacles’, Drama Review, 66 (June 1975), pp. 8–22Google Scholar
  6. Robert Russell, ‘People’s Theatre and the Revolution’, Irish Slavonic Studies, 7 (1986), pp. 65–84Google Scholar
  7. 19.
    Vestnik teatra, 26 (1919), p. 4. Writing in 1917–18, Fyodor Sologub, another symbolist contributor to the anthology Teatr. Kniga o novom teatre (1908), also expressed hopes for a revival of the people’s theatre based on the creation of a new myth: ‘Teatr — khram’, Teatr i Iskusstvo, 3 (1917), pp. 50–2; ‘Nabliudeniia i mechty o teatre’, Russkaia mysl’, 1–2 (1918), pp. 1–20. In 1922 V. V. Gippius made a more self-critical evaluation of the prerevolutionary intelligentsia’s Utopia (‘Teatr i narod’, in K. Erberg (ed.), Iskusstvo staroe i novoe, 1 [Petersburg, 1921], pp. 86–93).Google Scholar

Copyright information

© Lars Kleberg 1993

Authors and Affiliations

  • Lars Kleberg

There are no affiliations available

Personalised recommendations