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2013 Reprint of 1927 Edition. Exact facsimile of the original
edition, not reproduced with Optical Recognition Software. Evreinov
argued that the role of theatre was to ape and mimic nature. In his
estimation, theatre is everything around us. He pointed out that
nature is full of theatrical conventions: desert flowers mimicking
the stones; mouse feigning death in order to escape a cat's claws;
complicated dances of birds, etc. He viewed theatre as a universal
symbol of existence. Evreinov promoted an underlying aesthetic: "To
make a theatre of life is the duty of every artist. ... the stage
must not borrow so much from life as life borrows from the stage."
The director sought to reinvigorate the theatre (and through it
life itself) through the rediscovery of the origin of theatre in
play. He was influenced by the philosophies of Schopenhauer,
Nietzsche and Bergson, and, like Meyerhold, the aesthetics of
symbolism and the commedia dell'arte (particularly in its use of
mask and spontaneity). Evreinov developed his theatrical theories
in An Introduction to Monodrama (1909), The Theatre as Such (1912),
The Theatre for Oneself, and Pro Scena Sua (1915).
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