ALMA H. LAW (New York, U.S.A.) The Death of Tarelkin: A Constructivist Vision of Tsarist Russia Down with this metaphysics! Down with dead stage decor! A performance: . live play with live objects by live actors, in working rhythms and physical ex- . _ panses. Flat, painted decor is replaced by a mounting, a construction.... It's a trampoline for the actor's play. Every moment it's new, every moment it's used differently in the acting, it's . always in action. . E. Beskinl 1 We proclaim a new eccentric theatri- cality.... We want to grip the specta- , tor with the unprecedented entertain- ment of the performance, to throw .. "ideas, tricks" at him, spin his brain in a mad whirl of American supertech- nology, and force him to roar with pleasure or bellow from horror and . fear. . , G. Kryzhitskii2 2 Of all Meierkhol'd's productions of the classics in the post-Revolutionary period, none provoked more controversy than did his staging of Sukhovo- Kobylin's The Death of Tarelkin in November, 1922 (Fig. 1 ). Today we can appreciate this extraordinary production as a landmark of "Eccentricism" in the theatre and as one of the most fascinating pages
Russian History – Brill
Published: Jan 1, 1981
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