mother_russia
24th April 2006, 10:01 AM
After the 1917 revolution, the Russian and Soviet avant-garde theatre wanted to create a new style of art for a post-revolutionary society. This type of theatre as provided a new kind of stage/audience relationship in modernist Russian theatre
Russian theatre in the first half of the 20th Century brought "Futurism" and a dazzling variety of Expressionism to main stream culture
The Avant Garde of Russian and Soviet theatre which flooded theatres in the wake of the country's dramatic revolution, took many different forms of expression, but all were boldly theatrical, as opposed to the continuous attempts at "naturalism" which have always predominated the American stage.
Anxiety felt all over the continent produced jagged stage imagery in which intense stylized performances were enacted, attempting to capture heightened emotions and moods as much as portray philosophical ideas.
And since the experimental theatre artists of Russia and Europe were producing for the stage, it is an especially helpful source for ideas of how the solidity of the film's sets and design can be reduced to their more abstract and hence more practically realized components on stage.
The stylizations suggested by this period of theatre would be more appropriate than the more sleek and agile stylizations we are familiar with in modern musicals
Russian theatre in the first half of the 20th Century brought "Futurism" and a dazzling variety of Expressionism to main stream culture
The Avant Garde of Russian and Soviet theatre which flooded theatres in the wake of the country's dramatic revolution, took many different forms of expression, but all were boldly theatrical, as opposed to the continuous attempts at "naturalism" which have always predominated the American stage.
Anxiety felt all over the continent produced jagged stage imagery in which intense stylized performances were enacted, attempting to capture heightened emotions and moods as much as portray philosophical ideas.
And since the experimental theatre artists of Russia and Europe were producing for the stage, it is an especially helpful source for ideas of how the solidity of the film's sets and design can be reduced to their more abstract and hence more practically realized components on stage.
The stylizations suggested by this period of theatre would be more appropriate than the more sleek and agile stylizations we are familiar with in modern musicals