E. T. A. Hoffmann, self-portrait
From Introduction: Hoffmann’s Prism
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From Introduction: Hoffmann’s Prism
E. T. A. Hoffmann, self-portrait. Frontispiece to E. T. A. Hoffmann, Fantasy Pieces in Callot’s Manner: Pages from the Diary of a Traveling Romantic, 2nd edition. Bamberg, 1819. Oak Grove Library Center, call number: 833.6 H71f. Courtesy of Northwestern University Library. Photo by the author.
From Introduction: Hoffmann’s Prism
Title page for E. T. A. Hoffmann, Fantasy Pieces in Callot’s Manner: Pages from the Diary of a Traveling Enthusiast. Bamberg: C. F. Kunz, 1814. Staatsbibliothek Bamberg, L.g.o.1135/1. Photo: Gerald Raab.
From Introduction: Hoffmann’s Prism
Jacques Callot, The Temptation of Saint Anthony (second version, 1635). Etching. Harvard Art Museums/Fogg Museum, Gift of William Gray from the collection of Francis Calley Gray, by exchange, S3.51. Photo: Imaging Department © President and Fellows of Harvard College.
From Introduction: Hoffmann’s Prism
E. T. A. Hoffmann, parodic illustration (c. 1804, Plock) of the narrative structure of Laurence Sterne’s novel The Life and Opinions of Tristram Shandy, Gentleman (1759–1767). Staatsbibliothek Bamberg, L.g.o.391e/B19. Photo: Gerald Raab.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque and Epilogue: The Afterlife of a Death Jubilee
Finale of Princess Turandot, by Carlo Gozzi, directed by Evgeny Vakhtangov, Moscow Art Theatre Third Studio (1922). Courtesy of Andrei Malaev-Babel.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Alexander Golovin, design for the front cover of Love for Three Oranges: The Journal of Doctor Dapertutto, no. 1–3 (1915). PN2007.L5 1915 no. 1/3. André Savine Collection, Rare Book Collection, Wilson Special Collections Library, UNC-Chapel Hill.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Poster for the December 9, 1926 premiere of Inspector General, based on the play by Nikolai Gogol, adapted by Vsevolod Meyerhold and Mikhail Korenev, directed by Vsevolod Meyerhold, Meyerhold Theatre (GosTIM), Moscow. Russian State Archive of Literature and Art, f. 998, op. 1, ed. khr. 2801: 6.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Filmed scenes (episode 3, “The Unicorn,” episode 5, “Full of Most Tender Love,” and episode 7, “Behind a Bottle of Tolstobriushka”) from Inspector General, based on the play by Nikolai Gogol, adapted by Vsevolod Meyerhold and Mikhail Korenev, directed by Vsevolod Meyerhold, Meyerhold Theatre (GosTIM), Moscow (premiere: December 9, 1926). НВ 2544/17. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Episode 3, “The Unicorn,” Inspector General, based on the play by Nikolai Gogol, adapted by Vsevolod Meyerhold and Mikhail Korenev, directed by Vsevolod Meyerhold, Meyerhold Theatre (GosTIM), Moscow (premiere: December 9, 1926). Photo by Alexei Temerin. Henry Wadsworth Longfellow Dana (1902-1968) Collection, THE B MS Thr 402, Box 34, Folder 6. Harvard Theatre Collection, Houghton Library, Harvard University.
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.
From Chapter 2: Tairov-Celionati: Mime-Drama and Kaleidoscopic Commedia
Tyltyl (Sofia Khaliutina) and Mytyl (Alisa Koonen) in The Blue Bird (Siniaia ptitsa), by Maurice Maeterlinck, directed by Konstantin Stanislavsky and Leopold Sulerzhitsky, Moscow Art Theatre (premiere: September 30, 1908). Photo: K. A. Fischer, Moscow. Laurence Senelick Collection.
From Chapter 2: Tairov-Celionati: Mime-Drama and Kaleidoscopic Commedia and Epilogue: The Afterlife of a Death Jubilee
Opening parade for Princess Turandot, by Carlo Gozzi, directed by Evgeny Vakhtangov, Moscow Art Theatre Third Studio (1922). Photo courtesy of Andrei Malaev-Babel.
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.
From Chapter 2: Tairov-Celionati: Mime-Drama and Kaleidoscopic Commedia
Set model (authorized reproduction, 1927) for Princess Brambilla: A Kamerny Theatre Capriccio, after Hoffmann, based on the novella by E. T. A. Hoffmann, directed by Alexander Tairov, designed by Georgy Yakulov, Moscow Kamerny Theatre (premiere: May 4, 1920). 89 × 67.5 × 69.5 cm. TWS BM86. Copyright © Theaterwissenschaftliche Sammlung, University of Cologne, Germany.
From Epilogue: The Afterlife of a Death Jubilee
Set model (authorized reproduction, 1927) for Princess Turandot, by Carlo Gozzi, directed by Evgeny Vakhtangov, Moscow Art Theatre Third Studio (1922). 117 × 81 × 75.5 cm. TWS BM202. Copyright © Theaterwissenschaftliche Sammlung, University of Cologne, Germany.