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The Development of Constructivist Stage Design In Soviet Russia

The Development of Constructivist Stage Design In Soviet Russia MYROSLAVA M. MUDRAK (Austin, Tex., U.S.A.) The Development of Constructivist Stage Design In Soviet Russia The early twentieth century was an extremely fertile period in the visual arts in the Soviet Union. Along with the development of an artistic avant-garde, the craft of artistic decor for modern theatrical productions also bourgeoned. The translation of two-dimensional easel painting into three-dimensional form for the stage, how- ever, was not a new problem for Soviet artists, for from the 1880s onward, in Russia in particular, with the success of Mamontov's private opera and other the- aters established at this time, an entire generation of artists was already experiment- ing with this problem. There is no need to discuss such "World of Art" members as A. N. Benois, M. V. Dobuzhinskii, L. S. Bakst, and I. Iu. Bilibin, whose designs for S. P. Diaghilev's Ballets Russes and other operatic and theatrical productions gained them much ac- claim in the West as well as in Russia. For most of these artists, their designs for the stage and the actor served to create an illusion of time and place. With the painter's concentration on "art for art's sake," they diminished the importance of the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Soviet and Post Soviet Review Brill

The Development of Constructivist Stage Design In Soviet Russia

The Soviet and Post Soviet Review , Volume 3 (1): 253 – Jan 1, 1976

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Publisher
Brill
Copyright
© 1976 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1075-1262
eISSN
1876-3324
DOI
10.1163/187633276X00160
Publisher site
See Article on Publisher Site

Abstract

MYROSLAVA M. MUDRAK (Austin, Tex., U.S.A.) The Development of Constructivist Stage Design In Soviet Russia The early twentieth century was an extremely fertile period in the visual arts in the Soviet Union. Along with the development of an artistic avant-garde, the craft of artistic decor for modern theatrical productions also bourgeoned. The translation of two-dimensional easel painting into three-dimensional form for the stage, how- ever, was not a new problem for Soviet artists, for from the 1880s onward, in Russia in particular, with the success of Mamontov's private opera and other the- aters established at this time, an entire generation of artists was already experiment- ing with this problem. There is no need to discuss such "World of Art" members as A. N. Benois, M. V. Dobuzhinskii, L. S. Bakst, and I. Iu. Bilibin, whose designs for S. P. Diaghilev's Ballets Russes and other operatic and theatrical productions gained them much ac- claim in the West as well as in Russia. For most of these artists, their designs for the stage and the actor served to create an illusion of time and place. With the painter's concentration on "art for art's sake," they diminished the importance of the

Journal

The Soviet and Post Soviet ReviewBrill

Published: Jan 1, 1976

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