The New Spirit in the Russian Theatre, 1917-28: And a Sketch of the Russian Kinema and Radio, 1919-28, Showing the New Communal Relationship between the Three

The New Spirit in the Russian Theatre, 1917-28: And a Sketch of the Russian Kinema and Radio, 1919-28, Showing the New Communal Relationship between the Three

The New Spirit in the Russian Theatre, 1917-28: And a Sketch of the Russian Kinema and Radio, 1919-28, Showing the New Communal Relationship between the Three

The New Spirit in the Russian Theatre, 1917-28: And a Sketch of the Russian Kinema and Radio, 1919-28, Showing the New Communal Relationship between the Three

Excerpt

ELEVEN years ago a social revolution broke out in Russia. It had two distinct phases. There was the March or All-Russia revolution. The Tsar was deposed, and a Provisional Government established under Kerenski. And there was the October (November, new calendar), or bolshevist revolution during which all power passed rapidly into the hands of Soviets according to the plan of Lenin and his associates.

Since then a New theatre (that is to say, a theatre with a new purpose) has been definitely established by experiment. For there was no exact model of the theatre required, and only by experiment could the original intention of those who conceived and organised the theatre--the intention of establishing a real emotional and utilitarian relationship between the theatre and the mass of the people--be realised. It is true there existed a standard fixed by the Middle Age. Also it is true that the Russian masses had not, till the Revolution came, emerged from the Middle Age. They had missed the Renaissance and subsequent individualising influences and had remained more or less herd-like.

But the theatre required by the new epoch could not operate altogether in the Middle Age way. It must be a product of the spirit of the epoch. It must be the outcome of adaptation to the new principles of economic and social life. Though it could and has, in fact, retained the collective character of the early theatre, though it could form and has formed a playground for the exercise of the collective play-spirit, the moment demanded that the standard of collaboration must be a matter . . .

Search by... Author
Show... All Results Primary Sources Peer-reviewed

Oops!

An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.