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

Posner, Dassia N.

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.

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.

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.

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.

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.

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.

Photograph of Samuil Vermel as Pierrot

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.

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.

The cover of this souvenir program depicts a small marionette stage with Chauve-Souris (Bat cabaret) impresario Nikita Balieff merrily operating two marionettes while other characters peek at their compatriots from the tiny wings.

Chauve-Souris souvenir program cover

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.

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.

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.

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.

Photograph of Perrybingle and Tackleton sitting before a cozy hearth, center, as Maliutka enters in apron and cap, left.

Photo of a scene from The Cricket on the Hearth

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.

Photo of Vsevolod Meyerhold

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

A drawing of Meyerhold with an enormous nose and four arms, each reaching out to a different tiny theater building. From left to right: the Alexandrinsky, a film-studio, a studio theater, and the Marinsky.

Caricature of Vsevolod Meyerhold

From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque

Costume design for Nina in an elaborate ball gown with an orange shawl and black embroidered train. She wears a simple bracelet over one of her elbow-length gloves.

Nina at the ball in Masquerade, costume design

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.

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.

Playbill for Balaganchik

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.

Photo of Meyerhold as Pierrot in Balaganchik

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.

Playbill for Columbine’s Veil

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.

Costume design for the Dance Master in polka-dotted knee breeches and an orange tailcoat, the vividness of which is matched only by the blazing red of his hair.

Costume design for the Dance Master, Columbine’s Veil

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.

Pierrot’s sparsely furnished room is framed by a red curtain and borders. The space within contains two entrances, symmetrically positioned left and right, a writing desk, center, and the melancholy Pierrot in white on a chair, right.

Scene design for Pierrot’s room, Columbine’s Veil

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.

In the design for this wedding-ball setting, the deep red curtains, borders, and entrances from Pierrot’s room remain, but the space now is flooded with color from the costumes of the guests, decked out primarily in warm oranges and reds. Musicians play on a cramped stage, center, conducted by the Kapellmeister/Pianist in blue, his baton aloft.

Scene design for the wedding ball, Columbine’s Veil

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.

The Schnellpolka in Pierrette’s Veil

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

Costume design for the Kapellmeister/Pianist in a long blue tailcoat and gold-ochre breeches. Balding with a deeply lined face, his remaining hair, the same blue as his tailcoat, stands entirely on end.

Costume design for the Kapellmeister/Pianist, Columbine’s Veil

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.

Photograph from the end of Princess Turandot. The actors hold the costume pieces they have just taken off while peeking out directly at the audience from the partially open curtain that the forestage servants pull back.

Photo of the finale of Princess Turandot (Nivinsky)

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.

In this photograph of the biomechanics exercise “The Horse,” also called “Three as a Horse,” one actor holds on to the shoulders of another while a third, one leg aloft, “rides” the horse formed by the lower two.

Photo of the biomechanics exercise "The Horse"

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.

A row of actors, identically clad in prozodezhda (utilitarian uniform costumes), bowing in unison, traverse the forestage in front of Liubov Popova’s constructivist playground of a set.

Photo of a scene from Magnanimous Cuckold

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.

This journal cover, painted in blue, beige, and orange, depicts a lavishly curtained stage on which a commedia dell’arte actor stands with three enormous oranges as three other actors peek out from the wings.

Cover design for the journal Love for Three Oranges

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.

Two strolling players, one a comedian (left), the other a tragedian (right), slowly descend an elevated catwalk that curves around the stage and ends in the orchestra pit.

Photo of Schastlivtsev and Neschastlivtsev in The Forest

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.

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

Four competing choruses argue on the forestage in front of a vivid pink curtain that is framed by a bright green proscenium arch with towers on both sides. These towers, decorated in Harlequin-style motley, contain balconies from which fools peer down onto the action below.

Curtain design for the opera Love for Three Oranges

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.

This image shows two drawings, one of a stage with multiple curtained entrances and side balconies (left), the other diagramming how actors were to move across the forestage in relation to one another (right). They are annotated with notes in Meyerhold’s hand that indicate that both illustrations were to appear together on the page following Soloviev’s article.

Illustrations for “Experiments with Staging the Night Scene”

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.

Harlequin stands in the foreground, slapstick in hand, in diamond-patterned motley, while two other figures dance in the background.

Costume design for “Harlequin, Dealer of Slapstick Blows”

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.

Costume design of the ornate gold and blue gown to be worn by Princess Turandot.

Costume design for Turandot, Princess Turandot (Sapunov)

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.

This vivid design features several individually curtained balconies from which figures peer into the room below where Olimpia sits, center, playing a harp. A third level is populated by figures in masks positioned against a ceiling painted like the sky.

Scene design for the Olimpia act of Tales of Hoffmann (Sudeikin)

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.

This costume design, with its background of blues, pinks, and whites, reveals the set’s vivid, colliding, deliberately skewed planes. In the foreground stands an actor in gray with an enormous bowtie, his eyes replaced by dark blue smudges that stand out against his unnaturally white, painted skin. In the production, the actors wore dark blue paint around their eyes.

Costume design for Tales of Hoffmann (Lentulov)

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.

Premiere poster with the production title in eye-catching block letters.

Premiere poster for Inspector General

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.

Caricature of Meyerhold in his post-revolutionary military cap straddling and strangling Gogol, whose top hat has fallen off in the fray.

Caricature of Meyerhold throttling Gogol

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.

This playbill from the final dress rehearsal lists the individuals who contributed to the production, including the actors in each episode.

General rehearsal playbill for Inspector General

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.

A typed list of the episodes in Inspector General with the run time for each written in by hand.

Chronometrage report for Inspector General

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.

A ground plan of the stage, including a diagram of the tracks along which the two mobile platform stages entered and exited.

Ground plan for mobile stages, Inspector General

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.

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

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