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A Miracle (1920)
(S. 59 – 60)
(S. 59 – 60)
Konstantin Derzhavin
(1903–1956), Literaturwissenschaftler, Übersetzer, Kritiker, Romanist und Hispanist. Koregisseur vom Sturm auf den Winterpalast, Autor der weißen Bühne.
Weitere Texte von Konstantin Derzhavin bei DIAPHANES
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Open-Air Theater (1920)
In: Inke Arns (Hg.), Igor Chubarov (Hg.), Sylvia Sasse (Hg.), Nikolaj Evreinov: »Sturm auf den Winterpalast«
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Ein Wunder (1920)
In: Inke Arns (Hg.), Igor Chubarov (Hg.), Sylvia Sasse (Hg.), Nikolaj Evreinov: »Sturm auf den Winterpalast«
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Die Masse als solche (1920)
In: Inke Arns (Hg.), Igor Chubarov (Hg.), Sylvia Sasse (Hg.), Nikolaj Evreinov: »Sturm auf den Winterpalast«
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Sturm auf den Winterpalast. Zum fünften Jahrestag der Inszenierung (1925)
In: Inke Arns (Hg.), Igor Chubarov (Hg.), Sylvia Sasse (Hg.), Nikolaj Evreinov: »Sturm auf den Winterpalast«
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Open-Air Theater (1920)
In: Inke Arns (Hg.), Igor Chubarov (Hg.), Sylvia Sasse (Hg.), Nikolai Evreinov: »The Storming of the Winter Palace«
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The Mass as Such (1920)
In: Inke Arns (Hg.), Igor Chubarov (Hg.), Sylvia Sasse (Hg.), Nikolai Evreinov: »The Storming of the Winter Palace«
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The Storming of the Winter Palace. On the fifth anniversary of the staging (1925)
In: Inke Arns (Hg.), Igor Chubarov (Hg.), Sylvia Sasse (Hg.), Nikolai Evreinov: »The Storming of the Winter Palace«
Inke Arns (Hg.), Igor Chubarov (Hg.), Sylvia Sasse (Hg.)
Nikolai Evreinov: »The Storming of the Winter Palace«
Broschur, 320 Seiten
PDF, 320 Seiten
In 1920, the third anniversary of the October Revolution, The Storming of the Winter Palace was performed with a cast of 10,000. But as a reenactment this mass spectacle, directed by Nikolai Evreinov, was deceptive. It was intended to recall something—the storming of the Winter Palace as the beginning of the revolution—that it itself produced as a theatrical medium. This volume reconstructs the event with texts, photographs, and drawings, and shows how not only in the Soviet Union did the photograph of the theatrical “storming” become a historical document of the October Revolution.
Inhalt
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7–20
Foreword
Sylvia Sasse
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21–22
The Storming of the Winter Palace (1920)
Nikolai Evreinov
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23–29
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30–49
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50–54
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55–58
Open-Air Theater (1920)
Konstantin Derzhavin
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59–60
A Miracle (1920)
Konstantin Derzhavin
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61–63
The Mass as Such (1920)
Konstantin Derzhavin
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64–66
The Storming of the Winter Palace. On the fifth anniversary of the staging (1925)
Konstantin Derzhavin
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67–68
What is required of the Audience during the Production (1920)
Iosif Slepian, Dmitri Tëmkin
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69
November Eight 1920 (1920)
Lev Nikulin
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70–74
Baltic Sea (1932)
Lev Nikulin
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75–80
On Mass Actions and More Important Things (1932)
Sergei Radlov
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81–87
Nikolai Evreinov (1960)
Iuri Annenkov
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88–91
Mass Spectacles (1960)
Nikolai Petrov
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93–128
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131
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132–133
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134–135
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136–137
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138
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139
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140–141
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142
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143–147
On Uritski Square (Impression of a Muscovite) (1920)
Nikolai Shubski
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148–151
The Storming of the Winter Palace (1920)
Anonymous
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152–158
The Chaos of the Arts (1921)
Arthur Holitscher
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159–166
The Pageants of 1920 (1922)
Adrian Piotrovski
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167–176
The Successes of the New Theater (1922)
Platon Kerzhentsev
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177–196
Theatricalized Life (1926)
René Fülöp-Miller
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197–211
The Monumentalist Style of the Revolutionary Spectacles (1930)
Nina Gourfinkel
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212–215
The Theaters and Pageants of Petrograd in the Epoch of War Communism (1933)
Aleksei Gvozdev, Adrian Piotrovski
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216–222
Cinema and Theater. Nikolai Evreinov (1943)
Sergei Eisenstein
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225–231
History is Written with the Lens (1971)
Leonid Volkov-Lannit
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233–253
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257–263
Nikolai Evreinov‘s “Revolution In Itself”
Igor Chubarov
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269–279
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281–289
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293–302
List of figures
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303–315
Glossary
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317–320
Index