Participatory Art and the Politics of Spectatorship - autonomous ...
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notes to pages 58– 62<br />
1922. Romain Roll<strong>and</strong>, Le Théâtre du Peuple, Paris: Cahiers de la<br />
Quinzaine, 1903, preface, n.p.<br />
61 Kerzhentsev, The Creative Theatre, 1918, cited in Leach, Revolutionary<br />
Theatre, p. 24.<br />
62 A. I. Piotrovsky, cited in Richard Stites, Revolutionary Dreams: Utopian<br />
Vision <strong>and</strong> Experimental Life in <strong>the</strong> Russian Revolution, Oxford: Oxford<br />
University Press, 1989, p. 94.<br />
63 Fülöp- Miller, The Mind <strong>and</strong> Face <strong>of</strong> Bolshevism, p. 146.<br />
64 James von Geldern, ‘Putting <strong>the</strong> Masses in Mass Culture: Bolshevik<br />
Festivals, 1918– 1920’, Journal <strong>of</strong> Popular Culture, 31:4, 1998, p. 137.<br />
65 Ibid., p. 138.<br />
66 František Deák, ‘Russian Mass Spectacles’, TDR, 19:2, June 1975.<br />
67 Nikolai Evreinov, interview in Life <strong>of</strong> <strong>Art</strong>, 30 September 1920, in Vladimir<br />
Tolstoy et al., Street <strong>Art</strong> <strong>of</strong> <strong>the</strong> Revolution: Festivals <strong>and</strong> Celebrations in<br />
Russia 1918– 33, London: Thames <strong>and</strong> Hudson, 1990, p. 137.<br />
68 Stites, Revolutionary Dreams, p. 96. Clark notes that presentations <strong>of</strong><br />
mass spectacles in <strong>the</strong> West reached <strong>the</strong>ir peak during or just after a<br />
period <strong>of</strong> war, when it was possible to mobilise such large numbers <strong>of</strong><br />
people <strong>and</strong> equipment. In Russia, this peak year was 1920, when <strong>the</strong><br />
Civil War was winding down <strong>and</strong> <strong>the</strong> troops were less engaged at <strong>the</strong><br />
front but yet to be demobilised. See Clark, Petersburg, p. 133.<br />
69 Deák, ‘Russian Mass Spectacles’, p. 20. This search for au<strong>the</strong>ntic participants<br />
was also adopted by Eisenstein when casting his 1927 fi lm October:<br />
Ten Days That Shook <strong>the</strong> World.<br />
70 Susan Buck- Morss, Dreamworld <strong>and</strong> Catastrophe: The Passing <strong>of</strong> Mass<br />
Utopia in East <strong>and</strong> West, Cambridge, MA: MIT Press, 2002, p. 144.<br />
71 Evreinov, Teatr dlya sebya, vol. 1, pp. 69– 83, cited in Clark, Petersburg,<br />
p. 106.<br />
72 Stites, Revolutionary Dreams, p. 97.<br />
73 Fülöp- Miller, The Mind <strong>and</strong> Face <strong>of</strong> Bolshevism, Chapter 7, ‘Theatricalised<br />
Life’.<br />
74 Emma Goldman, My Disillusionment in Russia, London: William Heinemann,<br />
1923.<br />
75 Fülöp- Miller, The Mind <strong>and</strong> Face <strong>of</strong> Bolshevism, p. 151.<br />
76 Ibid., p. 151. In o<strong>the</strong>r words, mass spectacles were both too artistic <strong>and</strong><br />
too political, which amounted to <strong>the</strong> same thing.<br />
77 Kerzhentsev, cited in Richard Stourac <strong>and</strong> Kathleen McCreery, Theatre as a<br />
Weapon: Workers’ Theatre in <strong>the</strong> Soviet Union, Germany <strong>and</strong> Britain, 1917–<br />
1934, London <strong>and</strong> New York: Routledge <strong>and</strong> Kegan Paul, 1986, pp. 13– 14.<br />
78 Carter, The New Theatre <strong>and</strong> Cinema <strong>of</strong> Soviet Russia, p. 109.<br />
79 Goldman, My Disillusionment in Russia, p. 75.<br />
80 Ibid., p. 78.<br />
81 See Mona Ozouf, Festivals <strong>and</strong> <strong>the</strong> French Revolution, Cambridge, MA:<br />
Harvard University Press, 1988.<br />
300