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Foreword
Sylvia Sasse
is a professor of Slavic studies at the University of Zurich and co-founder of the ZKK (Centre for Arts and Cultural Theory), member of ZGW (Center "History of Knowledge"), and co-editor of "Geschichte der Gegenwart" (www.geschichtedergegenwart.ch).
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1988. Matthew Barney. Selbstbehinderung OPEN
ACCESSIn: Sandro Zanetti (ed.), Improvisation und Invention
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1915. Nikolaj Evreinovs Theatertherapie. Heilung durch Improvisation
In: Sandro Zanetti (ed.), Improvisation und Invention
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1834. Maximilian Langenschwarz und die Kunst, sich selber Steine in den Weg zu legen
In: Sandro Zanetti (ed.), Improvisation und Invention
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1832. Improvisation versus Dichtung. Odoevskij und Puškin
In: Sandro Zanetti (ed.), Improvisation und Invention
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Den Staat an seine Gesetze erinnern. Dissidenz als Wissen vom Recht
In: Monika Dommann (ed.), Kijan Malte Espahangizi (ed.), Svenja Goltermann (ed.), Nach Feierabend 2015
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Vorwort
In: Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.), Nikolaj Evreinov: »Sturm auf den Winterpalast«
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»Geschichte wird mit dem Objektiv geschrieben«. Wie das Foto vom theatralen Sturm zum historischen Dokument wird
In: Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.), Nikolaj Evreinov: »Sturm auf den Winterpalast«
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“History is Written with the Lens”: How the Photo of the Theatrical Storming becomes a Historical Document
In: Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.), Nikolai Evreinov: »The Storming of the Winter Palace«
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Einleitung
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Ästhetische Theorie
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Der theoretische Akt
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Ästhetische Theorie
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Introduction
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Aesthetic Theory
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The Theoretical Act
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Aesthetic Theory
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Michail M. Bachtin: »Литературоведение как наиболее свободная (почти карнавальная) область исследования«
In: Thomas Fries (ed.), Sandro Zanetti (ed.), Revolutionen der Literaturwissenschaft 1966–1971
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Julia Kristeva: »[L]a seule manière qu’a l’écrivain de participer à l’histoire devient alors la transgression […] par une écriture-lecture.«
In: Thomas Fries (ed.), Sandro Zanetti (ed.), Revolutionen der Literaturwissenschaft 1966–1971
Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.)
Nikolai Evreinov: »The Storming of the Winter Palace«
Softcover, 320 pages
PDF, 320 pages
In 1920, the third anniversary of the October Revolution, The Storming of the Winter Palace was performed with a cast of 10,000. But as a reenactment this mass spectacle, directed by Nikolai Evreinov, was deceptive. It was intended to recall something—the storming of the Winter Palace as the beginning of the revolution—that it itself produced as a theatrical medium. This volume reconstructs the event with texts, photographs, and drawings, and shows how not only in the Soviet Union did the photograph of the theatrical “storming” become a historical document of the October Revolution.
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7–20
Foreword
Sylvia Sasse
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21–22
The Storming of the Winter Palace (1920)
Nikolai Evreinov
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23–29
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30–49
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50–54
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55–58
Open-Air Theater (1920)
Konstantin Derzhavin
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59–60
A Miracle (1920)
Konstantin Derzhavin
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61–63
The Mass as Such (1920)
Konstantin Derzhavin
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64–66
The Storming of the Winter Palace. On the fifth anniversary of the staging (1925)
Konstantin Derzhavin
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67–68
What is required of the Audience during the Production (1920)
Iosif Slepian, Dmitri Tëmkin
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69
November Eight 1920 (1920)
Lev Nikulin
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70–74
Baltic Sea (1932)
Lev Nikulin
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75–80
On Mass Actions and More Important Things (1932)
Sergei Radlov
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81–87
Nikolai Evreinov (1960)
Iuri Annenkov
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88–91
Mass Spectacles (1960)
Nikolai Petrov
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93–128
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131
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132–133
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134–135
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136–137
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138
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139
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140–141
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142
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143–147
On Uritski Square (Impression of a Muscovite) (1920)
Nikolai Shubski
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148–151
The Storming of the Winter Palace (1920)
Anonymous
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152–158
The Chaos of the Arts (1921)
Arthur Holitscher
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159–166
The Pageants of 1920 (1922)
Adrian Piotrovski
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167–176
The Successes of the New Theater (1922)
Platon Kerzhentsev
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177–196
Theatricalized Life (1926)
René Fülöp-Miller
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197–211
The Monumentalist Style of the Revolutionary Spectacles (1930)
Nina Gourfinkel
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212–215
The Theaters and Pageants of Petrograd in the Epoch of War Communism (1933)
Aleksei Gvozdev, Adrian Piotrovski
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216–222
Cinema and Theater. Nikolai Evreinov (1943)
Sergei Eisenstein
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225–231
History is Written with the Lens (1971)
Leonid Volkov-Lannit
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233–253
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257–263
Nikolai Evreinov‘s “Revolution In Itself”
Igor Chubarov
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269–279
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281–289
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293–302
List of figures
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303–315
Glossary
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317–320
Index