Skip to main content
Northwestern University Press
Fulcrum logo

Share the story of what Open Access means to you

a graphic of a lock that is open, the universal logo for open access

University of Michigan needs your feedback to better understand how readers are using openly available ebooks. You can help by taking a short, privacy-friendly survey.

  1. Home
  2. The Director's Prism: E. T. A. Hoffmann and the Russian Theatrical Avant-Garde

The Director's Prism: E. T. A. Hoffmann and the Russian Theatrical Avant-Garde

Dassia N. Posner 2016
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.
Buy Book
ISBN(s)
  • 978-0-8101-3355-6 (paper)
  • 978-0-8101-3356-3 (hardcover)
  • 978-0-8101-3357-0 (e-book)
Subject
  • Performing Arts
Citable Link
  • Resources

  • Stats

Search and Filter Resources

Filter search results by

Section

  • Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque5
  • Chapter 2: Tairov-Celionati: Mime-Drama and Kaleidoscopic Commedia1
  • Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction10
Filter search results by

Keyword

  • creative process7
  • commedia dell’arte6
  • framing devices6
  • perspective shifts6
  • plural perspective6
  • more Keyword »
Filter search results by

Creator

  • Eisenstein, Sergei9
  • Sapunov, Nikolai2
  • Anisfeld, Boris1
  • Khvostenko-Khvostov, Alexander1
  • Sudeikin, Sergei1
  • more Creators »
Filter search results by

Format

  • image15
Filter search results by

Year

  • 19205
  • 19214
  • 19102
  • 19172
  • 19151
  • more Years »
Filter search results by

Exclusivity

  • Exclusive to Fulcrum6
Your search has returned 15 resources attached to The Director's Prism: E. T. A. Hoffmann and the Russian Theatrical Avant-Garde

Search Constraints

Filtering by: Content scene design Remove constraint Content: scene design
Start Over
1 - 15 of 15
  • First Appearance
  • Section (Earliest First)
  • Section (Last First)
  • Format (A-Z)
  • Format (Z-A)
  • Year (Oldest First)
  • Year (Newest First)
Number of results to display per page
  • 10 per page
  • 20 per page
  • 50 per page
  • 100 per page
View results as:
List Gallery

Search Results

Pierrot’s sparsely furnished room is framed by a red curtain and borders. The space within contains two entrances, symmetrically positioned left and right, a writing desk, center, and the melancholy Pierrot in white on a chair, right.

Scene design for Pierrot’s room, Columbine’s Veil

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

Nikolai Sapunov, scene design for acts 1 and 3, Pierrot’s room, Columbine’s Veil, based on the pantomime Pierrette’s Veil by Arthur Schnitzler, music by Ernő Dohnányi, adapted by Doctor Dapertutto (Vsevolod Meyerhold), directed by Vsevolod Meyerhold, House of Interludes, Saint Petersburg (premiere: October 12, 1910). ГИК 17156, ОР 23223. Copyright © Saint Petersburg State Museum of Theatre and Music.

In the design for this wedding-ball setting, the deep red curtains, borders, and entrances from Pierrot’s room remain, but the space now is flooded with color from the costumes of the guests, decked out primarily in warm oranges and reds. Musicians play on a cramped stage, center, conducted by the Kapellmeister/Pianist in blue, his baton aloft.

Scene design for the wedding ball, Columbine’s Veil

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque and Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction

Nikolai Sapunov, scene design for act 2 wedding ball, Columbine’s Veil, based on the pantomime Pierrette’s Veil by Arthur Schnitzler, music by Ernő Dohnányi, adapted by Doctor Dapertutto (Vsevolod Meyerhold), directed by Vsevolod Meyerhold, House of Interludes, Saint Petersburg (premiere: October 12, 1910). КП 176534. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.

Four competing choruses argue on the forestage in front of a vivid pink curtain that is framed by a bright green proscenium arch with towers on both sides. These towers, decorated in Harlequin-style motley, contain balconies from which fools peer down onto the action below.

Curtain design for the opera Love for Three Oranges

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

Boris Israelevich Anisfeld, Russian (1879–1973), design for Prokofiev’s opera Love for Three Oranges, Auditorium Theatre, Chicago (world premiere: December 30, 1921). Pink Curtain #2, from Love for Three Oranges, n.d. Gouache and watercolor, with pen and black ink, gold metallic paint, and charcoal, over graphite, selectively varnished, on off-white laid paper, 565 × 780 mm. Friends of American Art Collection, 1922.84, The Art Institute of Chicago.

This vivid design features several individually curtained balconies from which figures peer into the room below where Olimpia sits, center, playing a harp. A third level is populated by figures in masks positioned against a ceiling painted like the sky.

Scene design for the Olimpia act of Tales of Hoffmann (Sudeikin)

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

Sergei Sudeikin, scene design for the Olimpia act of Tales of Hoffmann, by Jacques Offenbach, directed by Fedor Komissarzhevsky, Zimin Opera Theatre, Moscow (1915, production unrealized). КП 60434. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.

This design for the opening of Mystery-Bouffe depicts a half globe topped by the North Pole. International survivors of the “waterless flood” of Revolution slowly make their way onto it. Moscow and Kharkov are marked on the globe, a reference to a different waterless flood, a theatrical one: this was one of many productions of the play that opened in the immediate wake of Meyerhold’s. Behind the globe, shards of bold color pierce the sky, at once recalling the Northern Lights and light refracted through a rainbow prism.

Scene design for act 1 of Mystery-Bouffe

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

Alexander Khvostenko-Khvostov, scene design for the “waterless flood” in act 1 of Mayakovsky’s Mystery-Bouffe. This production, directed by Grigory Avlov at the Kharkov Heroic Theatre (1921), was one of over a dozen that followed in the immediate wake of Meyerhold and Bebutov’s May 1921 staging at Theatre RSFSR 1. Cardboard, pencil, gouache, collage, 58 × 78.2 cm. КП 310777. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.

This scene design explodes with riotous color, fragmented angles, painted columns, and curlicues. A staircase spills down the center of the stage, while platforms on the sides and in the rear provide multiple playing levels for the actors.

Scene design for Princess Brambilla

From Chapter 2: Tairov-Celionati: Mime-Drama and Kaleidoscopic Commedia

Georgy Yakulov, scene design for Princess Brambilla: A Kamerny Theatre Capriccio, after Hoffmann, based on the novella by E. T. A. Hoffmann, directed by Alexander Tairov, Moscow Kamerny Theatre (premiere: May 4, 1920). КП 238272/606. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.

This unfinished scene design, partly drawn in pencil, partly painted, hearkens directly to medieval "mansions," side-by-side settings that depict multiple locations simultaneously.

Simultaneous setting design for Comedy of the Black Goat

From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction

Sergei Eisenstein, simultaneous setting, inspired by medieval scene design conventions, for Comedy of the Black Goat, a play that Eisenstein penned as Peregrinus Tyss. (March–June 1920). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 736: 12.

In this design sketch of a city street, created for Gozzi’s Green Bird, Eisenstein experiments with refracting Sebastiano Serlio’s 1545 comedy stage design (from On Perspective, his second architecture book). Onlooking framing figures are sketched into several of the balconies.

Scene design for The Green Bird

From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction

Sergei Eisenstein, scene design for Gozzi’s The Green Bird (c. 1917–19). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 698: 28.

Scene design for Four Harlequins with a generous forestage, onstage balconies, and bridge arches beyond which the canals of Venice can be glimpsed.

Scene design for Four Harlequins

From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction

Sergei Eisenstein, scene design for Four Harlequins (c. 1917–1918). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 698: 36.

In this scene design for Tales of Hoffmann, the black-and-white checkerboard floor and successive side wings (yellow wall sections with furniture and windows painted on them) together create an impression of sharply forced perspective.

Scene design for act 2 wings, Tales of Hoffmann (Eisenstein)

From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction

Sergei Eisenstein, scene design for act 2 of Offenbach’s Tales of Hoffmann (March 12, 1920). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 735: 4.

In this scene design for Tales of Hoffmann, the black-and-white checkerboard floor remains, but the "wings," actually periaktoi––three-sided, reconfigurable scenic elements––are placed in new configurations that allow actors to interact with, hide behind, and even climb on them.

Scene design for act 2 periaktoi, Tales of Hoffmann (Eisenstein)

From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction

Sergei Eisenstein, periaktoi for act 2 of Offenbach’s Tales of Hoffmann (1920). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 735: 5.

This sketch, the reverse side of Scene design for act 2 periaktoi, Tales of Hoffmann (Eisenstein), shows the measurements of the periaktoi along with several views from above of the periaktoi configurations. According to this drawing, the configuration in Scene design for act 2 wings, Tales of Hoffmann (Eisenstein) was to be used when the guests first entered.

Periaktoi configuration sketches for Tales of Hoffmann (Eisenstein)

From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction

Sergei Eisenstein, periaktoi configuration sketches for act 2 of Offenbach’s Tales of Hoffmann (1920). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 735: 5 verso.

Designs by Eisenstein for Meyerhold's proposed staging of Puss in Boots:Left top: front elevation of the stage with a performance in progress. The prompter, conductor, orchestra musicians, and fictional audience are all depicted simultaneously on the vertical plane.Left bottom: front elevation with the curtain closed.Right top: side elevation of the stage and the vertical positioning of the fictional audience.Right bottom: ground plan of the right half of the stage, including the prompter's box (bottom left of ground plan) and the positions of the orchestra members (marked with circles).

Proscenium theater scene design for Puss in Boots (Eisenstein)

From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction

Sergei Eisenstein, scene design for Puss in Boots, based on the play by Ludwig Tieck (December 28–29, 1921). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 792: 6.

As with Eisenstein’s December 28–29 design for Puss in Boots, this design simultaneously shows the prompter, conductor, orchestra, and fictional audience on a single vertical plane. Gone, however, is the proscenium-theater setting. This constructivist set in yellow, red, orange, and blue was intended for a proposed (though unrealized) outdoor, in-the-round production.

Arena theater scene design for Puss in Boots (Eisenstein)

From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction

Sergei Eisenstein, scene design for Tieck’s Puss in Boots, State Higher Theatre [Directing] Workshops (December 30, 1921). Russian State Archive of Literature and Art, f. 1923, op. 2, ed. khr. 1627: 2.

Eccentric Heartbreak House scene design in red, black, yellow, and white, created from string and cutout paper. The center of the design is dominated by a large arched structure with an actor walking along its crossbeam.

Eccentric scene design for Heartbreak House

From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction

Sergei Eisenstein, Eccentric scene design for Shaw’s Heartbreak House, State Higher Theatre Workshops (GVYTM), (June 19, 1922). Paper, applique, ink, 34.7 × 48.5 cm. КП 62005. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.

22,593 views since September 28, 2016
Northwestern University Press logo

Northwestern University Press

Powered by Fulcrum logo

  • About
  • Blog
  • Feedback
  • Contact
  • Contribute
  • Accessibility
  • Preservation
  • Privacy
  • Terms of Service
  • Log In

© Northwestern University Press 2021

x This site requires cookies to function correctly.