Theories of theatre Vyacheslav Ivanov (poet)

portrait konstantin somov (1906).

it @ time ivanov wrote first of 2 plays, tantalus (1905). second, prometheus (1919), imitated dramatic structure , mythological subject-matter of aeschylean tragedy , written in obscure , archaic language. unrealised, utopian ideas theatre, however, proved far more influential. ivanov regarded having potential powerful of arts , capable of taking on function of church , restoring religious belief in society had lost faith.

ivanov s theories part of shift in second phase of russian symbolism away influence of french decadence , ideas of valery bryusov, abstract evocations of inner states, towards german philosophical tradition, , ideas of richard wagner , friedrich nietzsche in particular, , promotion of ecstatic (in both religious , philosophical senses) theatre of mass participation. ideas of aleksei remizov (who literary manager of vsevolod meyerhold s new drama association @ time), fyodor sologub, , mystical anarchism of georgy chulkov part of second phase of movement.

ivanov proposed creation of new type of mass theatre, called collective action, modelled on ancient religious rituals, athenian tragedy, , medieval mystery play. writing in essay on mask ( poèt Čern ) published in magazine vesy (libra or scales) in 1904, ivanov argued revival of ancient relationship between poet , masses. inspired birth of tragedy , wagner s theories of theatre, ivanov sought provide philosophical foundation proposals linking nietzsche s analysis leo tolstoy s christian moralising, , ancient cultic performance later christian mysteries. idea dionysian associated concept of universal brotherhood have been alien nietzsche, had stressed fundamental differences between 2 traditions. ivanov, however, understood dionysus avatar christ. means of mask, argued, tragic hero appears not individual character rather embodiment of fundamental dionysian reality, 1 all-human i. means of hero s example, therefore, staged myth give people access sense of total unity of suffering.

rejecting theatrical illusion, ivanov s modern liturgical theatre offer not representation of action (mimesis), action (praxis). achieved overcoming separation between stage , auditorium, adopting open space similar classical greek orchêstra, , abolishing division between actor , audience, such become co-creating participants in sacred rite. ivanov imagined staging such performance in hall in furniture distributed whim , inspiration. actors mingle audience, handing out masks , costumes, before, singing , dancing chorus, collective improvisation merge participants communal unity.

thus, hoped, theatre facilitate genuine revolution in culture , society. writing in po zvezdam in 1908, ivanov argued:

the theatres of chorus tragedies, comedies , mysteries must become breeding-ground creative, or prophetic, self-determination of people; resolved problem of fusing actors , spectators in single orgiastic body. [...] , only, may add, when choral voice of such communities becomes genuine referendum of true of people political freedom become reality.

while some, such director meyerhold, enthusiastically embraced ivanov s ideas (at least insofar proposed overcoming division between actor , audience in collective improvisation), others more skeptical. poet andrei bely argued realities of modern, class-divided society not abolished means of masks , costumes, earnestly adopted:

let s suppose go temple-theatre, robe ourselves in white clothes, crown ourselves bunches of roses, perform mystery play (its theme same—god-like man wrestles fate) , @ appropriate moment join hands , begin dance. imagine yourself, reader, if 1 minute, in role. ones spinning round sacrificial altar—all of us: fashionable lady, up-and-coming stockbroker, worker , member of state council. expect our steps , our gestures coincide. while class struggle still exists, these appeals aesthetic democratization strange.