SERGEI M EISENSTEIN

ence and the actors are one and the same (without an audience: for themselves,
likepilgrims 14 ).
Ànoter*[inFrench:tobenoted]:
“Theater for oneself” as a theory extremely interesting in that sense (on the
threshold of Revolution and the end of class society) – here the circle dance
(with no audience) is projected wholly «into oneself», into the individual. The
veryearliestcollectiveformreducedtoasingleentity. 15
Date: Kratovo, 20.VI. 47
[RGALI1923-2-1017,pp.1-4]
NB. Probably, for the history of cinema.
Chronicleascradle.
“Verbleibe doch, du bist schön!”* 16
Onthequestionof“commemorativefoundations oftheoriginsofart”
(Thedithyramb–dynasticchronicle–reconstructionofanaction–television 17 )
N.B. Put this next to the extract about “souvenirs” and Queen Victoria’s equally
unbelievable cult of same (d’après* [in French: according to] Lytton Strachey’s
biography of her 18 ).
(Into the section on the universality and fundamentality of this urge*, shown by
curiousexamples 19 ).
Date: 17.VIII.47
“Verbleibe doch”* 20
Chronicle–Television*
Next to “Queen Victoria” d’après* Lytton Strachey goes – ... Miss Havisham (by
the way, also Victorian* – she is simply the “image of conservatism”, as is the
queen). (Great Expectations, 1860-61 21 )
Conservatism as the “scowling face” des Prinzips “Verbleibe doch” * [in German: of
the principle “Stay, moment”].
(Here also the book [by Florence Becker Lennon] on Lewis Carroll Victoria
ThroughtheLookingGlass. 22
dynamic mumification 123