Abstract
The first anniversary in 1918 of the October Revolution was the occasion for the performance in Petrograd of what is generally held to be the earliest substantial post-Revolutionary satirical work, Mayakovsky’s anti-religious pageant Mystery-Bouffe (‘Misteriyabuff’). But such innovative epic undertakings, like the new outdoor spectacles for mass audiences, were to have little significant impact on theatrical developments during the mid-1920s period of the New Economic Policy (NEP), not least because of the financial and organisational difficulties these productions presented. Instead, smaller-scale events — such as Mayakovsky himself would also contribute to — became the real focus for satirical work during most of the 1920s.
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Notes
From a letter of 22 December 1918 published in Iskusstvo kommuny, quoted in M. Frost, ‘Marc Chagall and the Jewish State Chamber Theatre’, Russian History, vol. VIII, nos 1-2 (1981) p. 93.
Yu. Dmitriyev, ‘Teatry komedii i satiry’, in Ocherki istorii russkogo sovetskogo dramaticheskogo teatra, vol. I: 1917–34 (Moscow, 1954) p. 380.
See note 10 (pp. 563-4) to the article ‘Ob Aleksandre Nikolayeviche Ostrovskom i po povodu ego’ (1923), in A. Lunacharskiy, Sobraniye sochineniy, vol. I (Moscow, 1963) pp. 200–10.
V. Meyerkhol’d, Stat’i, pis’ma, rechi, besedy, vol. II (Moscow, 1968) p. 319.
From a letter of 28 March 1930, published in ‘Pis’ma-protesty M. Bulgakova, A. Solzhenitsyna i A. Voznesenskogo’, Grani, vol. LXVI (1967) p. 157.
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© 1990 Palgrave Macmillan, a division of Macmillan Publishers Limited
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Curtis, J.A.E. (1990). Down with the Foxtrot! Concepts of Satire in the Soviet Theatre of the 1920s. In: Russell, R., Barratt, A. (eds) Russian Theatre in the Age of Modernism. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-20749-7_10
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