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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.

ISBN(s)

978-0-8101-3356-3 (hardcover)
978-0-8101-3355-6 (paper)
978-0-8101-3357-0 (e-book)

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Performing Arts

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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.

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 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.

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.

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.

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.

Costume design for Harlequin, A Dozen Hours of Columbine

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

Sergei Eisenstein, costume design (detail) of Harlequin for Eisenstein's pantomime A Dozen Hours of Columbine (1919). Russian State Archive of Literature and Art, f. 1923 op. 2 ed. khr. 1600: 35.

Rough pencil sketch of Columbine, in a half mask, above, strangling Pierrot, in a skullcap, below. On the drawing appear the words “venez,” “vous,” and “êtes,” three of the words in the phrase “Venez sans céremonies et telle que vous êtes!” (Come without ceremony just as you are!), which Pierrot says to Columbine just before she comes to his garret to kill him.

Sketch of Columbine strangling Pierrot, Columbine’s Garter

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

Sketch of Columbine strangling Pierrot, Columbine’s Garter, by Sergei Eisenstein and Sergei Yutkevich (1922). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 817: 17 verso.

Libretto page from Columbine’s Garter of scenes 4, 5, 6, and most of 7, focusing on “circus” attractions, ending just before Harlequin breaks the musicians’ instruments.

Libretto page from act 2 of Columbine’s Garter

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

Sergei Eisenstein and Sergei Yutkevich, page from act 2 of the pantomime libretto for Columbine’s Garter (1922). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 816: 15.

Rough pencil sketch of vertical staging ideas for Wiseman, including a lyra (aerial hoop) and tightrope, both of which appeared in the final production. As was the case in many of Eisenstein theatrical sketches, various words –– in this case "Moscow Proletkult," "attraction," "training" –– appear within the drawing itself.

Mise-en-scène sketch for Wiseman

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

Sergei Eisenstein, mise-en-scène sketch for Sergei Tretiakov’s Enough Stupidity in Every Wiseman, based on the play by Alexander Ostrovsky, directed by Sergei Eisenstein, Proletkult First Workers’ Theatre (premiere: April–May 1923). Russian State Archive of Literature and Art, f. 1923 op. 1 ed. khr. 801: 8 verso.

Photograph of Goluvtin crossing over the audience's heads on an inclined tightrope wearing a tuxedo, with bare feet, holding a parasol. Also visible is some of the detail on the walls and ceiling of this ornate room in the mansion that before the Revolution had belonged to the wealthy Morozov family.

Photo of tightrope act in Wiseman

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

Tightrope act in Sergei Tretiakov’s Enough Stupidity in Every Wiseman, based on the play by Alexander Ostrovsky, directed by Sergei Eisenstein, Proletkult First Workers’ Theatre (premiere: April–May 1923). Russian State Archive of Literature and Art, f. 1923 op. 1 ed. khr. 805: 14.

Two drawings for The Glass House, annotated in English, in which a transparent glass floor becomes a means for juxtaposing still images with rapidly moving ones: a stationary cat is positioned against "a whirling town," and feet stand on a "glass balcony above the moving street."

Static and moving image drawings for The Glass House

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

Sergei Eisenstein, static and moving image drawings for The Glass House (January 16, 1927–March 19, 1947). Russian State Archive of Literature and Art, f. 1923 op. 2 ed. khr. 162: 3.

List, handwritten in English, of several of Eisenstein's ideas for scenes in The Glass House that would focus on shifted perspective and juxtaposition.

List of episode ideas for The Glass House

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

Sergei Eisenstein, list of episode ideas for The Glass House (January 16, 1927–March 19, 1947). Russian State Archive of Literature and Art, f. 1923 op. 2 ed. khr. 162: 48.

Sergei Eisenstein, drawing (detail) of the sharp shift in perspective made possible by watching scenes from below through transparent floors.

Drawing of scenes viewed through transparent floors, The Glass House

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

Sergei Eisenstein, drawings of scenes viewed through transparent floors, The Glass House (January 16, 1927–March 19, 1947). Russian State Archive of Literature and Art, f. 1923 op. 2 ed. khr. 162: 50.

Film clip of Glumov chasing the thief of his diary up the outside of the former Morozov family mansion, which housed Proletkult after the Revolution.

Film clip from “Glumov’s Diary”

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

Film clip from Sergei Tretiakov’s Enough Stupidity in Every Wiseman, based on the play by Alexander Ostrovsky, directed by Sergei Eisenstein, Proletkult First Workers’ Theatre (premiere: April–May 1923). НВ 4808/5. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.