The problems of the theory and practice of soviet-russian stage direction 1917 – 1925 Summary

{160} The problems of the theory and practice of soviet-russian stage direction 1917 – 1925 Summary

Studies of the foundation of Soviet-Russian stage direction and its development in the first years after the Revolution is the latest work by the Department of Theatre Studies, the Leningrad State Institute of Theatre, Music and Cinematography, on the research of the Soviet-Russian stage direction. It is based on the following works written by the members of the Department: collections «Stage Direction on its Way» (1966), «Portraits of Stage Directors» (first issue 1972, second issue 1977), 4th-6th issues of the collected articles «Theatre and Drama», collective monograph «The Roots of Stage Direction» (1976), the books by D. I. Zolotnitsky «The Dawn of the October Theatre» (1976) and «Weekdays and Holidays of the October Theatre» (1978), V. I. Mironova «TRAM» (1977).

«The Problems of the Theory and Practice of Soviet-Russian Stage Direction» is devoted to the analysis of the developments taking place in the art of stage production in the first years after the revolution, a period marked not only by energetic rethinking of former artistic experience, but also by the birth of new tendencies in stage direction, of new creative trends influencing the further development of Soviet theatre.

The essay by D. I. Zolotnilsky «Stage Direction under War Communism» and the article by M. N. Lyubomudrov «Experiments in Stage Direction in the first half of the 1920s» contain the general description of the experiments in production during the first years after the revolution. An analysis of the complex and at times contradictory stage in the development of Soviet stage direction is given here.

The collection is based on the same principle as in the work «The Roots of Stage Direction»: problematic articles reflecting the development of stage direction in a given historical period, combined with monographic research into the work of classical stage directors.

In her essay «K. S. Stanislavsky and V. I. Nemirovich-Danchenko» L. P. Klimova examines the creative experiments of the founders of the Moscow Arts Theatre in the new post-revolutionary period. Attention is centered on the uncompromising artistic position of both. The author shows how Stanislavsky and Nemirovich-Danchenko increasingly found firm support for their position in the reality of the revolution itself.

{161} Zolotnitsky’s essay describes the contribution to the art of stage direction made by V. E. Meyerhold in the 1920s.; the artist’s experiments in the field of propagandist theatre, his discovery of new ways to make use of stage space, education of the actors, involvement of the audience, etc.

The analysis of the stage direction of E. B. Vakhtangov undertaken by U. A. Smirnov-Nesvitsky in the article «The Revolutionary Theatricality of E. B. Vakhtangov» brings the author to the conclusion that Vakhtangov’s «fantastic realism» is a certain stage in the development of the «system», its practical application in the field alien to the Moscow Arts Theatre.

In the study «The Evolution of the Creativity of A. Y. Tairov» M. N. Lyubomudrov shows the importance of this transitional phase for Tairov. Having created the conditions for the ideological intensification of his later productions, the revolution marked a boundary in Tairov’s art.

The authors of this collection of articles make it their task to show the historical conformities and the process of development of this period in the history of Russian-Soviet stage direction.

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