Scapino and Captain Zerbino, etching
From Introduction: Hoffmann’s Prism
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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.
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.
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.
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.
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.
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.
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.
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.
From Introduction: Hoffmann’s Prism
Sergei Sudeikin, cover for Nikita Balieff’s Chauve-Souris (The Bat) souvenir program. American season produced by F. Ray Comstock & Morris Gest. 1922-1923. Harvard Theatre Collection Souvenir programs, *2008T-415. Houghton Library, Harvard University.
From Introduction: Hoffmann’s Prism and Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Jacques Callot, The Fan (1619). Etching and engraving. Harvard Art Museums/Fogg Museum, Gift of William Gray from the collection of Francis Calley Gray, by exchange, S3.69.1. Photo: Imaging Department © President and Fellows of Harvard College.
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.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Photo portrait of Vsevolod Meyerhold by Alexei Temerin (1929). КП 180170/477. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Tom, “Here today, there tomorrow.” Caricature of Vsevolod Meyerhold (1916). КП 180169/1618. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
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
Boris Israelevich Anisfeld, Russian (1879–1973), design for Prokofiev’s opera Love for Three Oranges, Auditorium Theatre, Chicago (world premiere: December 30, 1921). Pink Curtain #2, from Love for Three Oranges, n.d. Gouache and watercolor, with pen and black ink, gold metallic paint, and charcoal, over graphite, selectively varnished, on off-white laid paper, 565 × 780 mm. Friends of American Art Collection, 1922.84, The Art Institute of Chicago.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Alexander Rykov, costume design for “Harlequin, Dealer of Slapstick Blows,” Borodinskaia Street Studio (premiere: February 12, 1915). Paper on cardboard, gouache, 29.9 × 23 cm. КП 180169/1536. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Sergei Sudeikin, scene design for the Olimpia act of Tales of Hoffmann, by Jacques Offenbach, directed by Fedor Komissarzhevsky, Zimin Opera Theatre, Moscow (1915, production unrealized). КП 60434. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Episode 9, “Bribes,” 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. КП 180170/910. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Dumb show, 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. КП 180170/921. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Making the mannequins for the dumb show, 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. КП 180170/1056. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.