Title: Technicism in the Ukrainian avant-garde theatre : a clash of meanings and forms
Source document: Theatralia. 2022, vol. 25, iss. 1, pp. 27-43
Extent
27-43
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2022-1-3
Stable URL (handle): https://hdl.handle.net/11222.digilib/145137
Type: Article
Language
License: CC BY-NC-ND 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
The article examines the impact of technicism on the Ukrainian avant-garde theatre and how the subject of industrialisation was treated on stage as a result. Based on performances directed by Boris Glagolin (Ukraine), Les Kurbas (Ukraine), Erwin Piscator (Germany), Alexander Tairov (Russia), Igor Terentiev (Ukraine) and stage designed by Oleksandr Khvostenko-Khvostov (Ukraine), Vadym Meller (Ukraine), Anatol Petrytsky (Ukraine), and others, the author analyses the two varied trends on stages, both of which were a product of the evolving ideological tasks facing the European and Ukrainian theatres in the 1920s–1930s. A tendency that arose at some point among the aforementioned avant-garde directors to make a parody out of technicism-related ideas is also discussed.
References
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[2] BENJAMIN, Walter. 1969. The Work of Art in the Age of Mechanical Reproduction. New York: Schocken Book, 1969.
[3] CHECHYK, Valentyna. 2018. Urbanism and the Visual Ideas of the Avant-garde in the Ukrainian Scenography of the 1920s. In Zoltán Imre and Dariusz Kosiński (eds.). Reclaimed Avant-garde: Spaces and Stages of Avant-garde Theatre in Central-Eastern Europe. Warsaw: Zbigniew Raszewski Theatre Institute, 2018: 68–82.
[4] DIXON, Steve. 2007. Digital Performance: A History of New Media in Theatre, Dance, Performance Art, and Installation. Cambridge: MIT Press, 2007.
[5] EFROS, Abram. 1934. Kamernyj teatr i ego khudozhniki: 1914–1934 [The Chamber Theatre and Its Artists: 1914–1934]. Moscow: VTO, 1934.
[6] INNES, Christopher. 1993. Avant-garde Theatre 1892–1992. London: Routledge, 1993.
[7] IURMAS, Iurij [Masiutin]. 1930. 'Johnny Strikes Up' Kreneka na stseni Kyїvskoї opery ['Johnny Strikes Up' by Krenek on Stage at the Kyiv Opera]. Proletarska Pravda 1 (January 1930): 2.
[8] KIRBY, Michael. 1971. Futurist Performance. New York: Dutton, 1971.
[9] KNAPP, Bettina L. 1985. French Theatre, 1918–1939. London: Macmillan Modern Dramatists, 1985.
[10] KRYTSEVYJ, Oleksandr. 1930. 'Postril' ('Postril' u derzhdrami im. Shevchenka) ['Shot' ('Shot' in the State Drama Theatre after Shevchenko)]. Literaturna hazeta 15 (July 1930): 3.
[11] LEACH, Robert. 1993. Vsevolod Meyerhold. Cambridge/New York: Cambridge University Press, 1993.
[12] LODDER, Christina. 1983. Russian Constructivism. New Haven/London: Yale University Press, 1983.
[13] MAKARYK, Irena R. and Virlana TKACZ (eds.). 2010. Modernism in Kyiv: Jubilant Experimentation. Toronto/Buffalo/London: University of Toronto Press, 2010.
[14] MARYNYCH, Hryhorij. n.d. Istorychni notatky (Istorychnyj shchodennyk). Chastyna 1. 1918–1937. [Historical Notes (Historical Diary)]. Museum of Theatre, Music, and Cinematic Art (Kyiv). Archive of Hryhorij Marynych. No. 10300.
[15] M-S. 1927. Zymovyj teatralnyj sezon 1926/27 v Dnipropetrovsku [The Winter Season of 1926/27 in Dnipropetrovsk]. Zoria 4–5 (1927): 39–40.
[16] NIKOLOVA, Kamelia. 2018. The Stage as a Social Space in the Historical Avant-garde and the Contemporary Theatre in Bulgaria. In Zoltán Imre and Dariusz Kosiński (eds.). Reclaimed Avant-garde: Spaces and Stages of Avant-garde Theatre in Central-Eastern Europe. Warsaw: Zbigniew Raszewski Theatre Institute, 2018: 135–147.
[17] PATTERSON, Michael. 1981. The Revolution in German Theatre. 1900–1933. Boston/London/Henley: Routledge & Kegan Paul, 1981.
[18] POGGIOLI, Renato. 1968. The Theory of the Avant-garde. Cambridge: The Belknap Press of Harvard University Press, 1968.
[19] RUDENKO, Tetiana. 2015. Vadym Meller: Missionary of Avant-garde Scenic Design. In Myroslava Mudrak (ed.). Staging the Ukrainian Avant-garde of the 1910s and 1920s. New York: The Ukrainian Museum, 2015: 46–67.
[20] ТOKAR, Haim. 1930. Velyka peremoga 'Berezolia'. Vid pobutovykh stsen – do patetychnoї symvoliky [The Great Victory of 'Berezil'. From Domestic Scenes to Pathetic Symbolism]. Robitnycha hazeta Proletar 3 (June 1930): 8.
[21] TKACZ, Virlana. 2002. Time and Transformation in Les' Kurbas's Production of Jimmie Higgins. Canadian-American Slavic Studies 36 (2002): 4: 421–433. | DOI 10.1163/221023902X00045
[22] VESELOVSKA, Hanna. 2015. On the Path to Innovation and Experiment: Ukrainian Theatre Direction of the First Third of the Twentieth Century. In Myroslava Mudrak (ed.). Staging the Ukrainian Avant-garde of the 1910s and 1920s. New York: The Ukrainian Museum, 2015: 118–139.
[23] VESELOVSKA, Hanna. 2018. The Movement of Bodies: Gender Issues in Ukraine Avant-garde Theatre. In Zoltán Imre and Dariusz Kosiński (eds.). Reclaimed Avant-garde: Spaces and Stages of Avant-garde Theatre in Central-Eastern Europe. Warsaw: Zbigniew Raszewski Theatre Institute, 2018: 166–182.
[24] VORONYJ, Mykola. 1929. 'Johnny Strikes Up'. Proletarska pravda 24 (December 1929): 2.