Simultaneous setting design for Comedy of the Black Goat
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Sergei Eisenstein, simultaneous setting, inspired by medieval scene design conventions, for Comedy of the Black Goat, a play that Eisenstein penned as Peregrinus Tyss. (March–June 1920). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 736: 12.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Sergei Eisenstein, costume design for Amusements on the Water and in a Field (c. 1917–18). “Harlequin’s entrance.” Signed “Sir Gay.” Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 698: 31
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Sergei Eisenstein, stage designs for Gozzi’s The Snake Woman (February 26, 1918). From top to bottom: stage-within-a-stage, ground plan of the forestage, and forestage “attendants” pulling back the curtain. Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 698: 11.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Sergei Eisenstein, scene design for Gozzi’s The Green Bird (c. 1917–19). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 698: 28.
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.
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.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Sergei Eisenstein, scene design for act 2 of Offenbach’s Tales of Hoffmann (March 12, 1920). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 735: 4.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Sergei Eisenstein, periaktoi 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.
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.
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 (September 17, 1921). Russian State Archive of Literature and Art, f. 1923, op. 1, ed. khr. 735: 10.
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.
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.
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.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Photo portrait of Meyerhold in his study. КП 319555/2. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
P. Dementiev, mise-en-scène drawing (detail) for Puss in Boots, based on the play by Ludwig Tieck (December 1, 1921). Russian State Archive of Literature and Art, f. 963, op. 1, ed. khr. 1274: 9.
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.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Sergei Eisenstein, scene design for Tieck’s Puss in Boots, State Higher Theatre [Directing] Workshops (December 30, 1921). Russian State Archive of Literature and Art, f. 1923, op. 2, ed. khr. 1627: 2.
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.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Sergei Eisenstein, Eccentric scene design for Shaw’s Heartbreak House, State Higher Theatre Workshops (GVYTM), (June 19, 1922). Paper, applique, ink, 34.7 × 48.5 cm. КП 62005. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
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.
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.
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.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Alexander Vertinsky in Black Pierrot costume and white face. Photographer: A. Gornshtein, Saint Petersburg. Laurence Senelick Collection.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Sergei Yutkevich, Balance. Drawing of Fedor Knorre (in the air) and Evgeny Kumeiko (below) (1923). Russian State Archive of Literature and Art f. 3070 op. 1 ed. khr. 412: 1.
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.
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.
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.
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.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Sergei Eisenstein, still from film clip used 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). Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Parodic action (satirizing Hoover's American Relief Administration) within and downstage of the inner proscenium in 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: 16.
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.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Film still of the Owl, one of four spies juxtaposed with animals in Eisenstein’s Strike (released April 1925).
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.
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.
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.
From Epilogue: The Afterlife of a Death Jubilee
Scene from The Nutcracker and the Mouse King, directed by Vladimir Sokolov, First State Children’s Theatre (premiere: September 26, 1922). Drawing from the archive of Entertainment (Zrelishcha), no. 7 (October 10–16, 1922). Paper on paper, Indian ink, brush, 22.5 × 27 cm. КП 291444. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
From Epilogue: The Afterlife of a Death Jubilee
Sergei Yutkevich, drawing of stage configuration for The Strange Adventure of E. T. A. Hoffmann, adapted and directed by Konstantin Derzhavin, New Drama Theatre (premiere: December 7, 1922). Russian State Archive of Literature and Art, f. 3070 op. 1 ed. khr. 413: 1.
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.