Eisenstein's Wiseman
Bibliographic Data
| ID | 8918787 |
|---|---|
| Authors | Daniel Gerould (corresponding author) |
| Year | 1974 |
| Volume | 18 |
| Issue | 1 |
| Pages | 71-76 |
| Publication date | 1974-03-01 |
| Peer Reviewed | Yes |
| 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 | 10.2307/1144864 |
| OpenAlex | W4237931149 |
| Language | EN |
| Citations received | 1 |
Throughout the first decade of its existence, Soviet theatre sought inspiration and new directions in the popular arts. In the period after the Revolution, the most innovative Russian directors and writers, by turning to the clowning and novelty acts of circus and music hall attempted a complete break with the traditions of bourgeois drama—its plotting, psychology, and domestic themes—in order to create a vital new political and propagandistic theatre with, they hoped, broad appeal to the masses. The painter Yuri Annenkov, in his version of Tolstoy's The First Distiller at the Hermitage Theatre, Petrograd, in 1919, added clowns and variety acts, made hell into a circus, and turned the devils into acrobats. Vladimir Mayakovsky collaborated with the professional clown Vitaly Lazarenko in staging his circus scenario The Championship of the Universal Class Struggle (See T-57) at the Second State Circus in Moscow
Aesthetics · Appeal · Art · Art history · Bourgeoisie · Drama · Literature · Painting · Performing arts · Period (music · Political science · Politics · State (computer science · The arts · Visual arts · Folklore, Mythology, and Literature Studies · Law · Soviet and Russian History · Theatre and Performance Studies
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,33 |
| Citation span | 2023 - 2023 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |