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  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
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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.
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Published: 2016
Publisher: Northwestern University Press
ISBN(s)
  • 978-0-8101-3357-0 (e-book)
  • 978-0-8101-3355-6 (paper)
  • 978-0-8101-3356-3 (hardcover)
Subject
  • Performing Arts

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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.

This pencil sketch features several figures in turbans and robes, center, framed by commedia dell'arte characters that include Pantalone (left) and Harlequin (right).

Costume design for Amusements on the Water and in a Field

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

Sergei Eisenstein, costume design for Amusements on the Water and in a Field (c. 1917–18). “Harlequin’s entrance.” Signed “Sir Gay.” Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 698: 31

Scene design in red, purple, and blue for The Snake Woman, created in three parts: a front elevation, ground plan, and a detail of the curtain mechanism and attendants. Emphasis in these designs is on the forestage as a primary playing area and on the fully visible attendants who pull back the stage curtain.

Stage designs for The Snake Woman

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

Sergei Eisenstein, stage designs for Gozzi’s The Snake Woman (February 26, 1918). From top to bottom: stage-within-a-stage, ground plan of the forestage, and forestage “attendants” pulling back the curtain. Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 698: 11.

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 costume design, Olimpia, the beautiful automaton in Tales of Hoffmann, is assembled from unnatural cubist shapes that together create a vague impression that she is on the verge of breaking, despite the cheerful look on her doll-like face.

Costume design for Olimpia in Tales of Hoffmann (Eisenstein)

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

Sergei Eisenstein, Costume design for Olimpia in Offenbach's Tales of Hoffmann (1921). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 735: 14.

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.

In this costume design for act 2 of Tales of Hoffmann, a female guest wears a purple and orange striped gown, the skirt of which curves out sharply then in again at the base, making her look like a vanka-vstanka (a doll with a rounded base that always returns to its upright position) or an enormous jug. The impression of the latter is strengthened by her vivid green headdress and hair, which together resemble a spout.

Female costume design for act 2 of Tales of Hoffmann (Eisenstein)

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

Sergei Eisenstein, costume design for act 2 of Offenbach's Tales of Hoffmann (September 17, 1921). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 735: 10.

In this costume design for act 2 of Tales of Hoffmann, a male guest appears to be part insect, part bird: while his enormous eyes are solid blue, his red on-end hair fans out like feathers. His blue jacket is a deep yellow underneath, and his green-clad calves trail away into nothingness.

Male costume design for act 2 of Tales of Hoffmann (Eisenstein)

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

Sergei Eisenstein, costume design for act 2 of Offenbach's Tales of Hoffmann (1921). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 735: 11.

In this scene design sketch, towers flank an ornately carved proscenium arch, the opening of which is bridged by a gymnast's bar that provided a practical playing space in the air above the stage. In the upstage distance are the rooftops of the city of Nuremberg. As is typical of Eisenstein's sketches, the edges of the drawing are populated by faces and figures in varying states of completion.

Design sketch for Master Martin

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

Sergei Eisenstein, design sketch for Master Martin the Cooper and His Men, based on the tale by E. T. A. Hoffmann. Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 796: 6 verso.

In this costume design for The Golden Pot, the Old Parrot wears a purple tailcoat, navy-and-white checked trousers, and yellow shoes and gloves. He stands in profile to emphasize the hooked beak of his full-head parrot mask.

Costume design for the Old Parrot in The Golden Pot

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

Sergei Eisenstein, costume design for the Old Parrot in The Golden Pot, based on the tale by E. T. A. Hoffmann (December 21, 1920). Russian State Archive of Literature and Art, f. 1923, op. 2, ed. khr. 1611:1.

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.

Rough notes for the first entrance of Pierrot’s friends in Columbine’s Wedding Veil. All the action for the scenes in Pierrot’s garret was to take place on the crossbars of an enormous vertical window. The first drawing in Eisenstein’s notes shows Pierrot’s four friends splitting into two pairs to enter from both below and above. The second drawing has all four of them instead enter from a trapdoor and cross over the top of the window frame.

Notes for Columbine’s Wedding Veil

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

Sergei Eisenstein, preliminary notes for Columbine’s Wedding Veil (May 1, 1922), the pantomime that became Columbine's Garter. Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 815: 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.

Costume sketch for Ma, a constructivist character in Columbine’s Garter who is half human, half restaurant. One of her thighs is marked roast (rôti) and the other soup (potage), while her left breast has three taps for dispensing drinks.

Costume sketch for Ma in Columbine’s Garter

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

Sergei Eisenstein, costume sketch for Ma in Columbine’s Garter, by Sergei Eisenstein and Sergei Yutkevich (1922). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 817: 2.

Costume sketch for Pa, a constructivist character in Columbine’s Garter who is half human, half toilet. His body is assembled from human and mechanical parts. His top hat is capped with a toilet lid crammed with various newspapers. A toilet tank marked PA juts upward from his body. At the center of his body is the word "Pipifax"––Eisenstein and Yutkevich's joint alter ego.

Costume sketch for Pa in Columbine’s Garter

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

Sergei Eisenstein, costume sketch for Pa in Columbine’s Garter, by Sergei Eisenstein and Sergei Yutkevich (dated 1922, 1934). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 817: 6.

Rough sketches for a female character in a bowler hat, most likely Columbine.

Costume sketch for Columbine in Columbine’s Garter

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

Sergei Eisenstein, costume sketch for Columbine in Columbine’s Garter, by Sergei Eisenstein and Sergei Yutkevich (1922). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 817: 15.

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