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

Posner, Dassia N.

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Etching foreground: two male figures in half masks, round spectacles, and hats adorned with long feathers face one another, talking, a jug on the ground between them. Etching background: two figures sword fight, one with jug in hand, while others look on.

Scapino and Captain Zerbino, etching

From Introduction: Hoffmann’s Prism

Jacques Callot, Scapino and Captain Zerbino, plate 12 from Balli di Sfessania (c. 1621). Etching. Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund, by exchange, S4.29.4. Photo: Imaging Department © President and Fellows of Harvard College.

Etching foreground: a woman with her hands tucked into her long gown, right, stands facing a man in a half mask and round spectacles, left, his feather-adorned hat in one hand. Etching background: two figures dance to the music of a theorbo while others watch.

Captain Cerimonia and Lady Lavinia, etching

From Introduction: Hoffmann’s Prism

Jacques Callot, Captain Cerimonia and Lady Lavinia, plate 3 from Balli di Sfessania (c. 1621). Etching. Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund, by exchange, S4.27.2. Photo: Imaging Department © President and Fellows of Harvard College.

Etching foreground: a woman, left, dances to the music of a theorbo, played by a man, right, in a half mask and feather-adorned hat. Etching background: two musicians entertain families and riders on horseback.

Riciulina and Metzetin, etching

From Introduction: Hoffmann’s Prism

Jacques Callot, Riciulina and Metzetin, plate 8 from Balli di Sfessania (c. 1621). Etching. Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund, by exchange, S4.28.6. Photo: Imaging Department © President and Fellows of Harvard College.

Etching foreground: two male figures in half masks face each other, one holding a wooden sword and cape (left), the other playing a guitar (right). Etching background: a man bows to kiss a woman’s hand.

Franca Trippa and Fritellino, etching

From Introduction: Hoffmann’s Prism, Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque, and Chapter 2: Tairov-Celionati: Mime-Drama and Kaleidoscopic Commedia

Jacques Callot, Franca Trippa and Fritellino, plate 23 from Balli di Sfessania (c. 1621). Etching. Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund, by exchange, S4.29.7. Photo: Imaging Department © President and Fellows of Harvard College.

Etching foreground: a woman, left, plays a tambourine, while a man, right, waves a wooden sword and cape. Etching background: two acrobats perform; a strolling guitarist plays; and several others watch.

Fracischina and Gian Farina, etching

From Introduction: Hoffmann’s Prism

Jacques Callot, Fracischina and Gian Farina, plate 17 from Balli di Sfessania (c. 1621). Etching. Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund, by exchange, S4.27.6. Photo: Imaging Department © President and Fellows of Harvard College.

Etching foreground: two male figures wearing half masks, their hats adorned with long feathers, stand facing one another with crossed swords, one wooden, the other real. Etching background: small groups of people look on.

Taglia Cantoni and Fracasso, etching

From Introduction: Hoffmann’s Prism, Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque, and Chapter 2: Tairov-Celionati: Mime-Drama and Kaleidoscopic Commedia

Jacques Callot, Taglia Cantoni and Fracasso, plate 24 from Balli di Sfessania (c. 1621). Etching. Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund, by exchange, S4.28.2. Photo: Imaging Department © President and Fellows of Harvard College.

Etching foreground: a man with a half mask and wooden sword extends his hat to a woman, who has placed her hand on his elbow. Etching background: a figure, center, waves a sword while another, left, wields a cape.

Pulliciniello and Lady Lucretia, etching

From Introduction: Hoffmann’s Prism

Jacques Callot, Pulliciniello and Lady Lucretia, plate 9 from Balli di Sfessania (c. 1621). Etching. Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund, by exchange, S4.29.1. Photo: Imaging Department © President and Fellows of Harvard College.

Etching foreground: a woman, left, holds out her shoe, while a man, right, kneels to kiss it. Etching background: pairs of lovers and onlookers talk.

Lady Lucia and Trastullo, etching

From Introduction: Hoffmann’s Prism

Jacques Callot, Lady Lucia and Trastullo, plate 21 from Balli di Sfessania (c. 1621). Etching. Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund, by exchange, S4.28.7. Photo: Imaging Department © President and Fellows of Harvard College.

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.

Two male figures in half masks face each other, one holding a wooden sword and cape, right, the other playing a guitar, left. It is a mirror image of Callot’s Franca Trippa and Fritellino, but with the background plane entirely removed.

Aquatint etching based on Franca Trippa and Fritellino

From Introduction: Hoffmann’s Prism

Carl Friedrich Thiele, aquatint etching in sepia (Berlin, September 1820), after Jacques Callot’s Franca Trippa and Fritellino, from Balli di Sfessania (c. 1621). Staatsbibliothek Bamberg, Sel.235a. Photo: Gerald Raab.

Two identical male figures in distorted poses and half masks dance in the same position from opposite perspectives.

Two Pantaloni Turning Their Backs, etching

From Introduction: Hoffmann’s Prism

Jacques Callot, Two Pantaloni Turning Their Backs (1617). Etching. Harvard Art Museums/Fogg Museum, Gift of William Gray from the collection of Francis Calley Gray, by exchange, S4.3.3. Photo: Imaging Department © President and Fellows of Harvard College.

An illustration of a theater-within-a-theater adorned with bells and larger-than-life candles. Feet can be glimpsed under the stage curtain that two visible figures, left and right, are preparing to raise.

Illustration for Balaganchik

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

Mstislav Dobuzhinsky, illustration for Blok’s Balaganchik: Lyrical Scenes by Alexander Blok, published in the journal Torches (Fakely) 1 (1906): 197. Photo by the author.

Playbill for Balaganchik

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

Playbill for January 2, 1907 performance of Blok’s Balaganchik, directed by Vsevolod Meyerhold, Vera Komissarzhevskaia Dramatic Theatre, Saint Petersburg (premiere: December 30, 1906). Russian State Archive of Literature and Art, f. 998, op. 1, ed. khr. 2743:3 verso- 4.

Photo of Meyerhold as Pierrot in Balaganchik

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

Vsevolod Meyerhold as Pierrot in Balaganchik, directed by Vsevolod Meyerhold, Vera Komissarzhevskaia Dramatic Theatre, Saint Petersburg (premiere: December 30, 1906). НВ 1567. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.

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.

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

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Scapino and Captain Zerbino, etching

Captain Cerimonia and Lady Lavinia, etching

Riciulina and Metzetin, etching

Franca Trippa and Fritellino, etching

Fracischina and Gian Farina, etching

Taglia Cantoni and Fracasso, etching

Pulliciniello and Lady Lucretia, etching

Lady Lucia and Trastullo, etching

Photograph of Samuil Vermel as Pierrot

Aquatint etching based on Franca Trippa and Fritellino

Two Pantaloni Turning Their Backs, etching

Illustration for Balaganchik

Playbill for Balaganchik

Photo of Meyerhold as Pierrot in Balaganchik

Playbill for Columbine’s Veil

Costume design for the Dance Master, Columbine’s Veil

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

Scene design for the wedding ball, Columbine’s Veil

The Schnellpolka in Pierrette’s Veil

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

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

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