ARTIFICIAL HELLS

notes to pages 58– 62
1922. Romain Rolland, Le Théâtre du Peuple, Paris: Cahiers de la
Quinzaine, 1903, preface, n.p.
61 Kerzhentsev, The Creative Theatre, 1918, cited in Leach, Revolutionary
Theatre, p. 24.
62 A. I. Piotrovsky, cited in Richard Stites, Revolutionary Dreams: Utopian
Vision and Experimental Life in the Russian Revolution, Oxford: Oxford
University Press, 1989, p. 94.
63 Fülöp- Miller, The Mind and Face of Bolshevism, p. 146.
64 James von Geldern, ‘Putting the Masses in Mass Culture: Bolshevik
Festivals, 1918– 1920’, Journal of Popular Culture, 31:4, 1998, p. 137.
65 Ibid., p. 138.
66 František Deák, ‘Russian Mass Spectacles’, TDR, 19:2, June 1975.
67 Nikolai Evreinov, interview in Life of Art, 30 September 1920, in Vladimir
Tolstoy et al., Street Art of the Revolution: Festivals and Celebrations in
Russia 1918– 33, London: Thames and Hudson, 1990, p. 137.
68 Stites, Revolutionary Dreams, p. 96. Clark notes that presentations of
mass spectacles in the West reached their peak during or just after a
period of war, when it was possible to mobilise such large numbers of
people and equipment. In Russia, this peak year was 1920, when the
Civil War was winding down and the troops were less engaged at the
front but yet to be demobilised. See Clark, Petersburg, p. 133.
69 Deák, ‘Russian Mass Spectacles’, p. 20. This search for authentic participants
was also adopted by Eisenstein when casting his 1927 film October:
Ten Days That Shook the World.
70 Susan Buck- Morss, Dreamworld and Catastrophe: The Passing of Mass
Utopia in East and West, Cambridge, MA: MIT Press, 2002, p. 144.
71 Evreinov, Teatr dlya sebya, vol. 1, pp. 69– 83, cited in Clark, Petersburg,
p. 106.
72 Stites, Revolutionary Dreams, p. 97.
73 Fülöp- Miller, The Mind and Face of Bolshevism, Chapter 7, ‘Theatricalised
Life’.
74 Emma Goldman, My Disillusionment in Russia, London: William Heinemann,
1923.
75 Fülöp- Miller, The Mind and Face of Bolshevism, p. 151.
76 Ibid., p. 151. In other words, mass spectacles were both too artistic and
too political, which amounted to the same thing.
77 Kerzhentsev, cited in Richard Stourac and Kathleen McCreery, Theatre as a
Weapon: Workers’ Theatre in the Soviet Union, Germany and Britain, 1917–
1934, London and New York: Routledge and Kegan Paul, 1986, pp. 13– 14.
78 Carter, The New Theatre and Cinema of Soviet Russia, p. 109.
79 Goldman, My Disillusionment in Russia, p. 75.
80 Ibid., p. 78.
81 See Mona Ozouf, Festivals and the French Revolution, Cambridge, MA:
Harvard University Press, 1988.
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