Nikolai evreinov biography books
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[BEARDSLEY] &#; Nikolai Nikolaevich EVREINOV
Our Notes & References
First edition of the first Russian study on Beardsley, richly illustrated and published by the first female theatrical director in Russia.
Discovered in the mids by the Mir Iskusstva [World of Art] group of Russian aesthetes, &#;Beardsley was soon fashioned into a cultural icon&#; (Dovzhyk). The circulation of his work in Russia began with the opening volume of the group&#;s eponymous periodical in the late 19th century and gradually, the fascination with Beardsley extended far beyond the small circle of critics and publishers: his style was absorbed as the guiding principle of modern Russian design and modernist art. &#;In literature, Beardsley&#;s name was integrated into the vast body of modernist poetry and prose, with homages from authors as different as Andrei Bely, Anatolii Mariengof, and Aleksei Lozina-Lozinskii, to name but a few&#; (Dovzhyk).
An ardent admirer of both Beardsley and Wilde, the Symb
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Diaphanes
In the s the Russian theater director and theorist Nikolai Evreinov () insisted on the theatricalization of life. Twenty years later Evreinov, who had left Russia in , was in exile in Paris when Stalin staged three elaborate political show trials in Moscow. Now he meticulously read the transcripts of the trials in the Russian-language press, collected material on Nikolai Bukharin and the other defendants, consulted with experts, and finally wrote a play, his response to the staging of a judicial farce. With this response, he possibly also wanted to rehabilitate his idea of the theatricalization of life. After all, the theatricalization of life does not mean performing false confessions, constructing conspiracies, fabricating facts, or casting hired witnesses. In his theatrical theory, Evreinov was concerned not to make the theater of life invisible. His play is therefore not a historical reconstruction, but an imaginary look behind the scenes, in which the Stalinist per
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Nikolai Evreinov & Others: »The Storming of the Winter Palace«
In , on the third anniversary of the October Revolution, dramatist Nikolai Evreinov directed a cast of 10, actors, dancers, and circus performers—as well as a convoy of armored cars and tanks—in The Storming of the Winter Palace. The mass spectacle, presented in and around the real Winter Palace in Petrograd, was intended to recall the storming as the beginning of the October Revolution. But it was a deceptive reenactment because, in producing the events it sought to reenact, it created a new kind of theater, agit-drama, promulgating political propaganda and deliberately breaking down the distinction between performers and spectators.
Nikolaj Evreinov: “The Storming of the Winter Palace” tells the fascinating story of this production. Taking readers through the relevant history, the authors describe the role of The Storming of the Winter Palace in commemorating Soviet power. With a wealt