Participatory Art and the Politics of Spectatorship - autonomous ...
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notes to pages 49– 53<br />
Benjamin, ‘The Work <strong>of</strong> <strong>Art</strong> in <strong>the</strong> Age <strong>of</strong> Mechanical Reproduction’, in<br />
Illuminations, New York: Schocken, 1969, p. 235.)<br />
27 Leon Trotsky, Literature <strong>and</strong> Revolution, London: RedWords, 1991, p. 160.<br />
28 Ibid., p. 163.<br />
29 Theatre’s accessibility also meant that it fl ourished in rural communities:<br />
‘The lack <strong>of</strong> means, <strong>the</strong> almost complete lack <strong>of</strong> ideologically acceptable<br />
fi lms, <strong>the</strong> high cost <strong>of</strong> borrowing, <strong>and</strong> a number <strong>of</strong> o<strong>the</strong>r things have<br />
made fi lms available only in <strong>the</strong> cities . . .’ (V. Stanev, ‘Cinema in <strong>the</strong><br />
Countryside’, in William Rosenberg [ed.], Bolshevik Visions: First Phase<br />
<strong>of</strong> <strong>the</strong> Cultural Revolution in Soviet Russia, Part 2, Ann Arbor: University<br />
<strong>of</strong> Michigan Press, 1990, p. 113.)<br />
30 Zenovia A. Sochor, Revolution <strong>and</strong> Culture: The Bogdanov–Lenin Controversy,<br />
Ithaca: Cornell University Press, 1988, p. 134.<br />
31 Aleks<strong>and</strong>r Bogdanov, ‘The Proletarian <strong>and</strong> <strong>Art</strong>’ (1918), in John Bowlt<br />
(ed.), Russian <strong>Art</strong> <strong>of</strong> <strong>the</strong> Avant- garde: Theory <strong>and</strong> Criticism 1902– 34, New<br />
York: Viking Press, 1976, p. 177.<br />
32 Lenin, cited in Max Eastman, <strong>Art</strong>ists in Uniform: A Study <strong>of</strong> Literature <strong>and</strong><br />
Bureaucratism, New York: Alfred A. Knopf, 1934, p. 244. Sochor characterises<br />
<strong>the</strong> main difference between Bogdanov <strong>and</strong> Lenin as concerning<br />
<strong>the</strong>ir position on utopia: for Bogdanov it was to be kept alive <strong>and</strong> realised,<br />
while for Lenin it was to be pigeonholed <strong>and</strong> deferred. See Sochor, Revolution<br />
<strong>and</strong> Culture, p. 233.<br />
33 Lenin, ‘On Proletarian Culture’ (1920), in V. I. Lenin, On Literature <strong>and</strong><br />
<strong>Art</strong>, Moscow: Progress Publishers, 1967, p. 155.<br />
34 Bogdanov, ‘The Paths <strong>of</strong> Proletarian Creation’ (1920), in Bowlt (ed.),<br />
Russian <strong>Art</strong> <strong>of</strong> <strong>the</strong> Avant- garde, pp. 181– 2.<br />
35 Ibid., p. 181.<br />
36 Ibid., pp. 178– 82.<br />
37 Alexei Gan, ‘Constructivism’, in Camilla Gray, The Great Experiment:<br />
Russian <strong>Art</strong> 1863–1922, London: Thames <strong>and</strong> Hudson, 1962, p. 286.<br />
38 Bogdanov, ‘The Paths <strong>of</strong> Proletarian Creation’, p. 180.<br />
39 Bogdanov, cited in Sochor, Revolution <strong>and</strong> Culture, p. 148.<br />
40 Trotsky, Literature <strong>and</strong> Revolution, p. 168.<br />
41 Ibid., p. 432. Citing <strong>the</strong> Marxist adage that art is a hammer with which to<br />
shape society, ra<strong>the</strong>r than a mirror that passively holds up a refl ection to<br />
it, Trotsky argued that society needs both <strong>the</strong> hammer <strong>and</strong> <strong>the</strong> mirror –<br />
since what is <strong>the</strong> use <strong>of</strong> a hammer unless you can accurately see what you<br />
are shaping?<br />
42 Comrade N. I. Goncharko (Proletkult delegate for <strong>the</strong> city <strong>of</strong> Saratov),<br />
cited in Kerzhentsev, ‘The Proletarian Theatre’, report <strong>and</strong> discussion at<br />
<strong>the</strong> First All- Russian Conference <strong>of</strong> <strong>the</strong> Proletkult, 17 September 1918, in<br />
Rosenberg (ed.), Bolshevik Visions, p. 131.<br />
43 See Huntly Carter, The New Theatre <strong>and</strong> Cinema <strong>of</strong> Soviet Russia, London:<br />
Chapman <strong>and</strong> Dodd, 1924, Chapter 6. Approximately 120,000 people saw<br />
298