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

Posner, Dassia N.

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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978-0-8101-3356-3 (hardcover)
978-0-8101-3355-6 (paper)
978-0-8101-3357-0 (e-book)

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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.

Etching foreground: silhouetted figures sit on an ornately carved frame and peer into the world it encloses. One gazes through a telescope, while another waves a fan, referring back from within the image to the real fans on which Callot’s etching appeared. Etching background: a massive mock battle on Italy’s Arno River, attended by hundreds of onlookers.

The Fan, etching and engraving

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.

Drawing of two male figures facing one another with crossed swords, one wooden, the other real. The figure on the left is nude aside from the cape he holds in his left hand.

Duel, drawing

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

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.

All the forces of hell explode from every corner of this etching, including bat-winged devils, a massive dragon, and creatures that are part machine, part animal, part gun, part skeleton. On the lower right, a tiny Saint Anthony is besieged by several man-beast devils and a dragon with snakes pouring from its mouth.

The Temptation of Saint Anthony (2nd version), etching

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.

This drawing consists of a single whimsical line that wanders, curves, and loops back on itself.

Parodic illustration of The Life and Opinions of Tristram Shandy

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.

Title page to Fantasy Pieces with an illustration, center, of a harp player and a sphinx.

Title page for Fantasy Pieces in Callot’s Manner

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.

Watercolor of Kapellmeister Johannes Kreisler in a brown dressing gown and red hat, smoking a long pipe, standing before a writing table, on which lies Hoffmann’s opera Undine.

Kapellmeister Johannes Kreisler in a Dressing Gown, watercolor

From Introduction: Hoffmann’s Prism

E. T. A. Hoffmann, Kapellmeister Johannes Kreisler in a Dressing Gown, After a Life Drawing by Erasmus Spikher (Berlin, January/February 1815). Original watercolor. Staatsbibliothek Bamberg, I R 65. Photo: Gerald Raab.

Portrait of Hoffmann, head and shoulders, full front, eyes gazing to one side.

E. T. A. Hoffmann, self-portrait

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.

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.

Pencil drawing of Hoffmann, dancing, one knee lifted, smoking a long pipe.

Kapellmeister Kreisler in Insanity, drawing

From Introduction: Hoffmann’s Prism

E. T. A. Hoffmann, Kapellmeister Kreisler in Insanity (Berlin, February 1822). Drawing for the first edition of The Life and Opinions of the Tomcat Murr, volume 3. Staatsbibliothek Bamberg, Art.f.23ga. Photo: Gerald Raab.

Nina Zarechnaia, shrouded in white, performs on an elevated outdoor stage while spectators sit on a bench looking on, their backs to the real audience beyond the imaginary fourth wall.

Photograph of Nina in The Seagull

From Introduction: Hoffmann’s Prism

Nina Zarechnaia (Maria Roksanova) in act 1 of Chekhov’s The Seagull, directed by Konstantin Stanislavsky and Vladimir Nemirovich-Danchenko, Moscow Art Theatre (premiere: December 18, 1898; photograph from 1905 revival). Laurence Senelick Collection.

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.

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

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Two Pantaloni Turning Their Backs, etching

The Fan, etching and engraving

Duel, drawing

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

The Temptation of Saint Anthony (2nd version), etching

Parodic illustration of The Life and Opinions of Tristram Shandy

Title page for Fantasy Pieces in Callot’s Manner

Kapellmeister Johannes Kreisler in a Dressing Gown, watercolor

E. T. A. Hoffmann, self-portrait

Aquatint etching based on Franca Trippa and Fritellino

Kapellmeister Kreisler in Insanity, drawing

Photograph of Nina in The Seagull

Illustration for Balaganchik