Photograph of Nina in The Seagull
From Introduction: Hoffmann’s Prism
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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.
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
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.
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.
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, 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
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
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.
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 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
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.
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
M. A. Durasova as Maliutka (Mary), G. M. Khmara as John Perrybingle, and Evgeny Vakhtangov as Tackleton in act 4, scene 3 of The Cricket on the Hearth, based on the novel by Charles Dickens, directed by Boris Sushkevich, Moscow Art Theatre First Studio (premiere: November 24, 1914). Laurence Senelick Collection.
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
Alexander Golovin, costume design for Nina at the ball in Lermontov’s Masquerade, directed by Vsevolod Meyerhold, Alexandrinsky Theatre (premiere: February 25, 1917). КП 8320. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
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.
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.
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.
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.
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.
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.
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.
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
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.
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 and Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Photograph of Meyerhold’s students performing the biomechanics exercise “The Horse” (“The Ring”). State Higher Theatre Workshops (GVYTM), Moscow (1922). TWS FIN05844. Copyright © Theaterwissenschaftliche Sammlung, University of Cologne.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Scene from Magnanimous Cuckold, based on the play by Fernand Crommelynck, directed by Vsevolod Meyerhold, Meyerhold Theatre (GosTIM), Moscow (GVYTM premiere: April 25, 1922; photograph from 1928 GosTIM remount). КП 180170/29. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
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
Schastlivtsev (Igor Ilinsky) and Neschastlivtsev (Mikhail Mukhin) on the long, curved bridge in The Forest, directed by Vsevolod Meyerhold, Meyerhold Theatre (GosTIM) (premiere: January 19, 1924). КП 180170/32. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Jacques Callot, Duel. Black chalk, 68 × 93 cm. France (n.d., c. 1600s). ОР-1190. Copyright © The State Hermitage Museum, Saint Petersburg.
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
Proof sheet illustrations by Alexander Rykov for Vladimir Soloviev’s article “Experiments with Staging the Night Scene” (with handwritten notes by Meyerhold) for the journal Love for Three Oranges: The Journal of Doctor Dapertutto (Liubov’ k trem apel’sinam: Zhurnal Doktora Dapertutto) (May 16, 1915). ГИК 17118/2, f. 44, ed. khr. 3. Copyright © Saint Petersburg State Museum of Theatre and Music.
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 and Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Nikolai Sapunov, costume design for Princess Turandot in Princess Turandot, by Carlo Gozzi, adapted by Friedrich Schiller, directed by Fedor Komissarzhevsky, Nezlobin Theatre, Moscow (premiere: October 23, 1912). КП 189959. 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
Astriarkh Lentulov, costume design for Tales of Hoffmann, by Jacques Offenbach, directed by Fedor Komissarzhevsky, KhPSRO (Artistic-Instructive Union of Workers’ Organizations) Theatre-Studio, Moscow (1919). КП 289402. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
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
Caricature of Meyerhold throttling Gogol, in Life and Art (Zhizn’ i iskusstvo) (October 5, 1926). Russian State Archive of Literature and Art, f. 963, op. 1, ed. khr. 514: 9.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Playbill for the December 8, 1926 general (invited dress) rehearsal 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 (premiere: December 9, 1926). 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
Chronometrage report (n.d.) for 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). Russian State Archive of Literature and Art, f. 963, op. 1, ed. khr. 513: 6.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Ground plan for mobile stages, 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). КП 180169/348. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.