Participatory Art and the Politics of Spectatorship - autonomous ...

notes to pages 54– 8
Mystery- Bouffe in just over fi ve months. Trotsky, however, expressed
reservations about Mayakovsky’s success when leaving ‘his individualist
orbit’ and attempting ‘to enter the orbit of the Revolution’. (Trotsky,
Literature and Revolution, pp. 187– 8.)
44 Platon Mikhailovich Kerzhentsev, Tvorcheskii Theatr, 1923, cited in
Robert Leach, Revolutionary Theatre, London: Routledge, 1994, p. 23.
45 Carter, The New Theatre and Cinema of Soviet Russia, p. 89.
46 Kerzhentsev, Tvorcheskii Theatr, p. 38, cited by Katerina Clark, Petersburg:
Crucible of Revolution, Cambridge, MA: Harvard University Press,
1995, p. 125.
47 Viktor Shklovsky, cited in Lynn Mally, Culture of the Future: The Proletkult
Movement in Revolutionary Russia, Berkeley: University of California
Press, 1990, p. 245.
48 Carter, The New Theatre and Cinema of Soviet Russia, p. 103.
49 Robert Leach gives the example of workers producing the play Don’t Go on
the basis of analysing the social relations depicted in a painting in their club
room. See Leach, Revolutionary Theatre, p. 39.
50 Clark, Petersburg, p. 110.
51 Lunacharsky, cited in Sheila Fitzpatrick, The Commissariat of Enlightenment:
Soviet Organization of Education and the Arts under Lunacharsky,
October 1917– 1921, Cambridge: Cambridge University Press, 1970, pp.
146– 7.
52 Kerzhentsev, ‘The Proletarian Theatre’, in Rosenberg (ed.), Bolshevik
Visions, p. 129. One solution was to adapt existing plays, such as Verhaeren’s
Zor, by reducing the role of the hero and increasing the role of the
masses.
53 Evgeny Zamyatin, ‘The Modern Russian Theatre’ (1931), in E. and C. R.
Proffer (eds.), The Ardis Anthology of Russian Futurism, Ann Arbor,
Michigan: Ardis, 1980, p. 204.
54 Ibid., p. 205.
55 For a more detailed contextual account, see Mel Gordon, ‘Eisenstein’s
Later Work at the Proletkult’, TDR, 22:3, September 1978, pp. 111– 12.
56 Jay Leyda, Kino: A History of the Russian and Soviet Film, London: Allen
and Unwin, 1960, cited in Transform the World! Poetry Must be Made by
All!, Stockholm: Moderna Museet, 1969, p. 43.
57 See John W. Casson, ‘Living Newspaper: Theatre and Therapy’, TDR,
44:2, Summer 2000, pp. 108– 9.
58 See René Fülöp- Miller, The Mind and Face of Bolshevism: An Examination
of Cultural Life in Soviet Russia, London and New York: Putnam’s
Sons, 1965 (fi rst published 1927), Chapter 7.
59 Gray, The Great Experiment, pp. 217– 18. Gray’s source was a participant
in the event, the Constructivist architect Berthold Lubetkin (p. 309,
note 7).
60 Platon Mikhailovich Kerzhentsev, Das Schöpferische Theater, Hamburg,
299