| Description |
1 online resource |
| Contents |
Introduction: Hoffmann's prism -- Prologue/polemic: "Unnecessary truth" -- Under the sign of Hoffmann -- Refraction -- Meyerhold-Dapertutto: Framing the grotesque -- Prologue/polemic: "The cricket on the hearth, or, At the keyhole" -- Enter Doctor Dapertutto -- Dapertutto's Three Oranges: the scenario, the studio, and the journal -- Interlude: inspector general (1926) -- Epilogue: A waterless flood -- Tairov-Celionati: mime-drama and kaleidoscopic commedia -- Prologue/ polemic: "The dusk of the dawns" -- Mime-drama and the new theater -- Interlude: Princess Brambilla: a Kamerny Capriccio after Hoffmann (1920) -- Epilogue: An independent path -- Peregrinus Tyss meets Pipifax: Eisenstein, the grotesque, and the attraction -- Prologue/polemic: Tarelkin's Death -- The theatrical adventures of Mr. Peregrinus Tyss -- Tyss's Moscow experiments -- Interlude: Pipifax's pantomime: Columbine's garter (1922) -- Epilogue: Through theater to film -- The afterlife of a death jubilee -- Hoffmann's Jubilee (1922) -- The afterlife of refracted light -- Appendix A. Three essays from Love for three oranges: The journal of Doctor Dapertutto -- Hoffmaniana -- Open letter from the authors of the divertissement Love for three oranges to A.A. Gvozdev -- Comedy of pure joy: Ludwig Tieck's Puss in boots -- Appendix B. Columbine's veil -- Appendix C. Pierrette's veil -- Appendix D. Columbine's garter |
| Summary |
The Director's Prism investigates how and why three of Russia's most innovative directors - Vsevolod Meyerhold, Alexander Tairov, and Sergei Eisenstein - used the fantastical tales of German Romantic writer E.T.A. Hoffmann to reinvent the rules of theatrical practice. Because the rise of the director and the Russian cult of Hoffmann closely coincided, Posner argues, many characteristics we associate with avant-garde theater - subjective perspective, breaking through the fourth wall, activating the spectator as a co-creator - become uniquely legible in the context of this engagement. Posner examines the artistic poetics of Meyerhold's grotesque, Tairov's mime-drama, and Eisenstein's theatrical attraction through production analyses, based on extensive archival research, that challenge the notion of theater as a mirror to life, instead viewing the director as a prism through whom life is refracted. A resource for scholars and practitioners alike, this groundbreaking study provides a fresh, provocative perspective on experimental theater, intercultural borrowings, and the nature of the creative process |
| Subject |
Eisenstein, Sergei, 1898-1948 -- Criticism and interpretation
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Tairov, Aleksandr I︠A︡kovlevich, 1885-1950 -- Criticism and interpretation
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Meĭerkholʹd, V. Ė. (Vsevolod Ėmilʹevich), 1874-1940 -- Criticism and interpretation
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Hoffmann, E. T. A. (Ernst Theodor Amadeus), 1776-1822 -- Influence
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| SUBJECT |
Eisenstein, Sergei, 1898-1948 fast |
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Hoffmann, E. T. A. (Ernst Theodor Amadeus), 1776-1822 fast |
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Meĭerkholʹd, V. Ė. (Vsevolod Ėmilʹevich), 1874-1940 fast |
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Tairov, Aleksandr I︠A︡kovlevich, 1885-1950 fast |
| Subject |
Russian drama -- 20th century -- History and criticism
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Theater -- Production and direction -- Russia -- History -- 20th century
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PERFORMING ARTS -- General.
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Influence (Literary, artistic, etc.)
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Russian drama
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Theater -- Production and direction
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Russia
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| Genre/Form |
Criticism, interpretation, etc.
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History
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| Form |
Electronic book
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| ISBN |
9780810133570 |
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0810133571 |
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