Eisenstein's Later Work at the Proletkult
Bibliographic Data
| ID | 8918713 |
|---|---|
| Authors | Mel Gordon (corresponding author) |
| Year | 1978 |
| Volume | 22 |
| Issue | 3 |
| Pages | 107-112 |
| Publication date | 1978-09-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | The Drama Review TDR (JOURNAL) |
| Journal identifiers | ISSN: 0012-5962 • E-ISSN: 2326-2060 |
| Publisher | The MIT Press (PUBLISHER • US) |
| DOI | 10.2307/1145192 |
| OpenAlex | W2802140257 |
| Language | EN |
| Citations received | 1 |
In September 1923, four months after the premiere of his provocative circus production of The Wiseman and three years before his recognition as Europe's foremost filmmaker, Sergei Eisenstein collaborated with the writer and linguist Sergei Tretyakov in the preparation of two new revolutionary plays, Do You Hear, Moscow?! and Gas Masks. More than Nikolai Foregger and Meyerhold, more than all of his teachers, the twenty-five-year-old Eisenstein was now considered by many as the most radical director in a theatre-mad Moscow. His manifesto “Montage of Attractions” [ LEF #1 May 1923] and extreme reworking of Alexander Ostrovsky's nineteenth-century comedy, Enough Stupidity in Every Wiseman set theatrical circles on edge. [See T61 for a translation of the essay and a description of this production.] The young proponents of left-wing culture, centered around the poet Mayakovsky and the periodical LEF, hailed Eisenstein as the next intellectual/artistic savior
Art · Art history · Comedy · Film director · Left-wing politics · Literature · Manifesto · Movie theater · Politics · Stupidity · Cinema and Media Studies · Law · Musicology and Musical Analysis · Psychology · Theatre and Performance Studies
| Citations per year | 0.2 |
|---|---|
| Citation span | 2021 - 2021 (1) |
| Highly cited | No |