Nikolai Evreinov & Others: The Storming of the Winter Palace

ISBN-13: 9783037349915 / Angielski / Miękka / 2017 / 250 str.

Inke Arns; Sylvia Sasse; Igor Tchoubarov

Opis

In 1920, on the third anniversary of the October Revolution, dramatist Nikolai Evreinov directed a cast of 10,000 actors, dancers, and circus performers--as well as a convoy of armored cars and tanks--in The Storming of the Winter Palace. The mass spectacle, presented in and around the real Winter Palace in Petrograd, was intended to recall the storming as the beginning of the October Revolution. But it was a deceptive reenactment because, in producing the events it sought to reenact, it created a new kind of theater, agit-drama, promulgating political propaganda and deliberately breaking down the distinction between performers and spectators.

Nikolaj Evreinov: "The Storming of the Winter Palace" tells the fascinating story of this production. Taking readers through the relevant history, the authors describe the role of The Storming of the Winter Palace in commemorating Soviet power. With a wealth of illustrations, they also show how photographs of Evreinov's theatrical storming eventually became historical documents of the October Revolution themselves.

Spis treści

7 - 20 Foreword (Sylvia Sasse)21 - 22 The Storming of the Winter Palace (1920) (Nikolai Evreinov)23 - 29 The Storming of the Winter Palace (Nikolai Evreinov)30 - 49 The Storming of the Winter Palace (Nikolai Evreinov)50 - 54 The Storming of the Winter Palace (Nikolai Evreinov)55 - 58 Open-Air Theater (1920) (Konstantin Derzhavin)59 - 60 A Miracle (1920) (Konstantin Derzhavin)61 - 63 The Mass as Such (1920) (Konstantin Derzhavin)64 - 66 The Storming of the Winter Palace (Konstantin Derzhavin)67 - 68 What is required of the Audience during the Production (1920) (Iosif Slepian, Dmitri Tëmkin)69 November Eight 1920 (1920) (Lev Nikulin)70 - 74 Baltic Sea (1932) (Lev Nikulin)75 - 80 On Mass Actions and More Important Things (1932) (Sergei Radlov)81 - 87 Nikolai Evreinov (1960) (Iuri Annenkov)88 - 91 Mass Spectacles (1960) (Nikolai Petrov)93 - 128 Photographs of the 1920 staging in sequence131 Announcement of the Decoration of Petrograd during the Third Anniversary Celebrations of October (1920) (Anonymous)132 - 133 On the October Celebrations (1920) (Vlagin)134 - 135 The Staging of the Storming of the Winter Palace (1920) (Anonymous)136 - 137 An Exhibition in Memory of the Great October (1920) (F. Lenski)138 At a Rehearsal for the Staging of The Storming of the Winter Palace (1920) (Anonymous)139 Motion Pictures and the Staging of The Storming of the Winter Palace (1920) (Anonymous)140 - 141 The Storming of the Winter Palace (Anonymous)142 Proletarian Action (Anonymous)143 - 147 On Uritski Square (Impression of a Muscovite) (1920) (Nikolai Shubski)148 - 151 The Storming of the Winter Palace (1920) (Anonymous)152 - 158 The Chaos of the Arts (1921) (Arthur Holitscher)159 - 166 The Pageants of 1920 (1922) (Adrian Piotrovski)167 - 176 The Successes of the New Theater (1922) (Platon Kerzhentsev)177 - 196 Theatricalized Life (1926) (René Fülöp-Miller)197 - 211 The Monumentalist Style of the Revolutionary Spectacles (1930) (Nina Gourfinkel)212 - 215 The Theaters and Pageants of Petrograd in the Epoch of War Communism (1933) (Aleksei Gvozdev, Adrian Piotrovski)216 - 222 Cinema and Theater. Nikolai Evreinov (1943) (Sergei Eisenstein)225 - 231 History is Written with the Lens (1971) (Leonid Volkov-Lannit)233 - 253 Photographs of the theatrical storming of the Winter Palace as historical documents257 - 263 Nikolai Evreinov's "Revolution In Itself" (Igor Chubarov)269 - 279 "History is Written with the Lens": How the Photo of the Theatrical Storming becomes a Historical Document (Sylvia Sasse)281 - 289 Battlefield History: Artistic Reenactments as Participatory Deconstructions of History (Inke Arns)293 - 302 List of figures303 - 315 Glossary317 - 320 Index

O autorze

Inke Arns ist Direktorin des Hartware MedienKunstVerein (HMKV) in Dortmund (www.hmkv.de). Seit 1993 freie Kuratorin und Autorin mit den Schwerpunkten Medienkunst und -theorie, Netzkulturen, Osteuropa. Nach einem Aufenthalt in Paris (1982-1986) Studium der Slawistik, Osteuropastudien, Politikwissenschaften und Kunstgeschichte in Berlin und Amsterdam (1988-1996), 2004 Promotion an der Humboldt-Universität zu Berlin mit einer Dissertation zum Paradigmenwechsel der Rezeption der historischen Avantgarde und des Utopie-Begriffs in (medien-)künstlerischen Projekten der 1980er und 1990er Jahre in Ex-Jugoslawien und Russland. Sie kuratiert(e) viele Ausstellungen, zuletzt u.a. am Haus der Kulturen der Welt (HKW, Berlin). Autorin zahlreicher Beiträge zur Medienkunst und Netzkultur und Herausgeberin von Ausstellungskatalogen.www.inkearns.de Sylvia Sasse ist Professorin für Slawistische Literaturwissenschaft an der Universität Zürich. Sie ist Mitbegründerin des ZKK (Zentrum für Künste und Kulturtheorie), Mitglied des ZGW (Zentrum Geschichte des Wissens) und Mitherausgeberin von »Geschichte der Gegenwart«(www.geschichtedergegenwart.ch). Igor Chubarov ist Philosoph und Professor an der Staatlichen Universität Moskau. Er ist wissenschaftlicher Mitarbeit des Instituts für Philosophie der Russischen Akademie der Wissenschaften und Redakteur des Magazin Logos. Er publizierte zu Moderner Kunst und Proletarischer Kunst der frühen Sovjetunion, Geschichte der russischen Philosophie, Theorien der Macht, Theorie der Maschinen, Medientheorie und Evreinov.