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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 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.
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  • 978-0-8101-3355-6 (paper)
  • 978-0-8101-3356-3 (hardcover)
  • 978-0-8101-3357-0 (e-book)
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  • Performing Arts
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  • Introduction: Hoffmann’s Prism1
  • Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque6
  • Chapter 2: Tairov-Celionati: Mime-Drama and Kaleidoscopic Commedia6
  • Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction8
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  • commedia dell’arte18
  • pantomime18
  • Pierrette
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  • Eisenstein, Sergei6
  • Sapunov, Nikolai4
  • Tairov, Alexander3
  • Arapov, Anatoly1
  • Dohnányi, Ernő1
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  • 19106
  • 19226
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Photograph of Samuil Vermel as Pierrot, his costume white with black pompoms, standing, head back, with a hand on a chair.

Photograph of Samuil Vermel as Pierrot

From Introduction: Hoffmann’s Prism

Samuil Vermel as Pierrot in Pierrette’s Veil, by Arthur Schnitzler, music by Ernő Dohnányi, directed by Alexander Tairov (photo from the 1916 remount at the Moscow Kamerny Theatre). Photo: M. Sakharov & P. Orlov, 1917. Laurence Senelick Collection.

Typed playbill with House of Interludes logo that lists the actors and artists of The Reformed Eccentric, Columbine’s Veil and two other pieces that were part of the evening’s program: The Dutchwoman Liza and Black and White.

Playbill for Columbine’s Veil

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

Playbill for the December 10, 1910 performance of 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). Russian State Archive of Literature and Art, f. 998, op. 1, ed. khr. 2762: 1–1 verso.

Costume design for the Dance Master in polka-dotted knee breeches and an orange tailcoat, the vividness of which is matched only by the blazing red of his hair.

Costume design for the Dance Master, Columbine’s Veil

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

Nikolai Sapunov, costume design for Gigolo, the Dance Master, Columbine’s Veil, based on the pantomime Pierrette’s Veil by Arthur Schnitzler, music by Ernő Dohnányi, adapted by Doctor Dapertutto (Meyerhold), directed by Vsevolod Meyerhold, House of Interludes, Saint Petersburg (premiere: October 12, 1910). Paper, graphite pencil, watercolor, 30.8 × 22.2 cm. ГИК 5199/291, ОР 10883. Copyright © Saint Petersburg State Museum of Theatre and Music.

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.

The Schnellpolka in Pierrette’s Veil

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque and Chapter 2: Tairov-Celionati: Mime-Drama and Kaleidoscopic Commedia

Act 2 (wedding ball) Schnellpolka, played on instruments Harlequin has “broken” in his rage, from the pantomime Pierrette’s Veil by Arthur Schnitzler, music by Ernő Dohnányi (1910). Recording copyright © Jia-Yee Tang

Costume design for the Kapellmeister/Pianist in a long blue tailcoat and gold-ochre breeches. Balding with a deeply lined face, his remaining hair, the same blue as his tailcoat, stands entirely on end.

Costume design for the Kapellmeister/Pianist, Columbine’s Veil

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

Nikolai Sapunov, costume design for the Kapellmeister/Pianist in 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). Paper, graphite pencil, watercolor, 32.2 × 22.7 cm. ГИК 5199/290, ОР 10882. Copyright © Saint Petersburg State Museum of Theatre and Music.

Cover of the 1910 piano score for Pierrette’s Veil, with an illustration of the dead Pierrot draped on a chair in the foreground and the aghast Pierrette looking at him in the background, both of them in white.

Koonen’s piano score for Pierrette’s Veil

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

Title page to Alisa Koonen’s annotated copy of the piano score for Pierette’s Veil, by Arthur Schnitzler, music by Ernő Dohnányi (1910). Russian State Archive of Literature and Art, f. 2328, op. 1, ed. khr. 311: 28.

Pencil drawing of a columned ballroom crowded with wedding guests dancing on broad stairs and the floor below. Upstage a balustrade encloses a tiny platform upon which the wedding musicians are uncomfortably crammed.

Mise-en-scène design for the Pierrette’s Veil wedding ball

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

Anatoly Arapov, mise-en-scène design for act 2 of Pierrette’s Veil, by Arthur Schnitzler, music by Ernő Dohnányi, directed by Alexander Tairov, Svobodny Theatre, Moscow (premiere: November 4, 1913). КП 190294/78. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.

Pierrette (Koonen), dressed in wedding white, stands on the ballroom steps (center), her arms raised in alarm as she sees Pierrot’s ghost, a diaphanous puppet manipulated by a visible actor, upstage. Curious wedding guests watch her from both sides of the stage.

Photo of the Pierrette’s Veil wedding ball

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

Finale of act 2 wedding ball scene in Pierrette’s Veil, by Arthur Schnitzler, music by Ernő Dohnányi, directed by Alexander Tairov, Svobodny Theatre (premiere: November 4, 1913). Photograph from Kamerny Theatre remount (premiere: October 6, 1916). Russian State Archive of Literature and Art, f. 2328, op. 1, ed. khr. 342: 10.

Playbill for Pierrette’s Veil on a single, elongated sheet that lists the production artists and provides a synopsis of the pantomime.

Playbill for Pierrette’s Veil

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

Playbill for a June 29, 1918 performance in Smolensk of Pierrette’s Veil; pantomime libretto by Arthur Schnitzler, music by Ernő Dohnányi. Directed by Alexander Tairov at the Svobodny Theatre, Moscow (premiere: November 4, 1913). Playbill from Kamerny Theatre remount (premiere: October 6, 1916). Russian State Archive of Literature and Art, f. 2768, op. 1, ed. khr. 446: 7.

In this photograph, Pierrette (Koonen), her hair in braids, supports the dead Pierrot (Tseretelli), both lovers in all white.

Pierrette and Pierrot in Pierrette’s Veil

From Chapter 2: Tairov-Celionati: Mime-Drama and Kaleidoscopic Commedia and Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction

Pierrette (Alisa Koonen) and Pierrot (Nikolai Tseretelli) in Pierrette’s Veil, by Arthur Schnitzler, music by Ernő Dohnányi, directed by Alexander Tairov, Moscow Kamerny Theatre (remount premiere: October 6, 1916). Photograph collection of A. B. Chizhov.

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.

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.

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.

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