After the 1917 revolution, Russian and Soviet avant-garde
theatre attempted to create a new art for post-revolutionary
society. This reconsideration of the Russian avant-garde theatre
investigates the burgeoning new drama/theatre forms of the period.
Kleberg considers assumptions made about the audience and by the
audience, and seeks to determine whether discrepancies existed
between the two. Offering fresh insights into the modernist period
of Russian theatre, Theatre as Action provides a new typology of
the stage/audience relationship in modernist Russian theatre.
Constructivism of the 1920's is discussed on light of the plays of
Meyerhold, Eisenstein, and Treytykov. The relation of the Soviet
Russian avant-garde to the aesthetics of Bertold Brecht is also
examined. This original, comprehensive work is a major contribution
to our understanding of the confrontation of the ideal and the
reality of Soviet 1920's, revealing the Wagnerian and Symbolist
utopia beneath, and its crisis. It will be of particular interest
to students of literature and drama.
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