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Inke Arns (ed.), Igor Chubarov (ed.), ...: Nikolai Evreinov: »The Storming of the Winter Palace«

b€ 30,00 p€ 30,00

Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.)

Nikolai Evreinov: »The Storming of the Winter Palace«

Softcover, 320 pages

PDF, 320 pages

Historic event, reenactement, fake

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and drawings, and shows how not only in the Soviet Union did the photograph of the theatrical “storming” become a historical document of the October Revolution.

Content

7–20

Foreword

Sylvia Sasse
21–22

The Storming of the Winter Palace (1920)

Nikolai Evreinov
23–29

The Storming of the Winter Palace. An article by the production’s director-in-chief (1920)

Nikolai Evreinov

p€ 4,95
30–49

The Storming of the Winter Palace. Recollections of the staging to celebrate the third anniversary of the October Revolution (unpublished typescript, 1924)

Nikolai Evreinov

p€ 7,95
50–54

The Storming of the Winter Palace. Recollections of the staging to celebrate the third anniversary of the October Revolution (1924)

Nikolai Evreinov

p€ 4,95
55–58

Open-Air Theater (1920)

Konstantin Derzhavin

pOpen access
59–60

A Miracle (1920)

Konstantin Derzhavin

pOpen access
61–63

The Mass as Such (1920)

Konstantin Derzhavin

pOpen access
64–66

The Storming of the Winter Palace. On the fifth anniversary of the staging (1925)

Konstantin Derzhavin

pOpen access
67–68

What is required of the Audience during the Production (1920)

Iosif Slepian, Dmitri Tëmkin

pOpen access
69

November Eight 1920 (1920)

Lev Nikulin

pOpen access
70–74

Baltic Sea (1932)

Lev Nikulin

p€ 4,95
75–80

On Mass Actions and More Important Things (1932)

Sergei Radlov

p€ 4,95
81–87

Nikolai Evreinov (1960)

Iuri Annenkov

p€ 4,95
88–91

Mass Spectacles (1960)

Nikolai Petrov

pOpen access
93–128

Photographs of the 1920 staging in sequence

p€ 12,95
131

Announcement of the Decoration of Petrograd during the Third Anniversary Celebrations of October (1920)

Anonymous

pOpen access
132–133

On the October Celebrations (1920)

Vlagin

pOpen access
134–135

The Staging of the Storming of the Winter Palace (1920)

Anonymous

pOpen access
136–137

An Exhibition in Memory of the Great October (1920)

F. Lenski

pOpen access
138

At a Rehearsal for the Staging of The Storming of the Winter Palace (1920)

Anonymous

pOpen access
139

Motion Pictures and the Staging of The Storming of the Winter Palace (1920)

Anonymous

pOpen access
140–141

The Storming of the Winter Palace. An Eye-Witness Report (1920)

Anonymous

pOpen access
142

Proletarian Action. At the Staging The Storming of the Winter Palace (1920)

Anonymous

pOpen access
143–147

On Uritski Square (Impression of a Muscovite) (1920)

Nikolai Shubski

p€ 4,95
148–151

The Storming of the Winter Palace (1920)

Anonymous

pOpen access
152–158

The Chaos of the Arts (1921)

Arthur Holitscher

p€ 4,95
159–166

The Pageants of 1920 (1922)

Adrian Piotrovski

p€ 4,95
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

pOpen access
216–222

Cinema and Theater. Nikolai Evreinov (1943)

Sergei Eisenstein

p€ 4,95
225–231

History is Written with the Lens (1971)

Leonid Volkov-Lannit

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233–253

Photographs of the theatrical storming of the Winter Palace as historical documents

p€ 12,95
257–263

Nikolai Evreinov‘s “Revolution In Itself”

Igor Chubarov
269–279

“History is Written with the Lens”: How the Photo of the Theatrical Storming becomes a Historical Document

Sylvia Sasse

p€ 7,95
281–289

Battlefield History: Artistic Reenactments as Participatory Deconstructions of History

Inke Arns

p€ 4,95
293–302

List of figures
303–315

Glossary
317–320

Index

revolution
History of photography
historic documents
Russia

Inke Arns

Inke Arns, PhD, director of Hartware MedienKunstVerein (HMKV) in Dortmund (www.hmkv.de), has worked internationally as an independent curator and theorist specializing in media art, net cultures, and Eastern Europe since 1993. After living in Paris (1982-1986) she studied Russian literature, Eastern European studies, political science, and art history in Berlin and Amsterdam (1988–1996) and in 2004 obtained her PhD from the Humboldt University in Berlin with a thesis focusing on a paradigmatic shift in the way artists reflected the historical avant-garde and the notion of utopia in visual and media art projects of the 1980s and 1990s in (ex-)Yugoslavia and Russia. She curated many exhibitions, most recently a.o. at Haus der Kulturen der Welt / House of World Cultures (HKW, Berlin). Author of numerous articles on media art and net culture, and editor of exhibition catalogues. www.inkearns.de

Other texts by Inke Arns for DIAPHANES

Schlachtfeld Historie. Künstlerische Reenactments als partizipative De-Konstruktion von Geschichte
In: Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.), Nikolaj Evreinov: »Sturm auf den Winterpalast«

p€ 4,95
Battlefield History: Artistic Reenactments as Participatory Deconstructions of History
In: Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.), Nikolai Evreinov: »The Storming of the Winter Palace«

p€ 4,95

Igor Chubarov

is a philosopher and professor at Moscow State University. He is a senior research fellow in the Institute of Philosophy at the Russian Academy of Sciences and editor of the Logos magazine. He is the author of works on modern art and early-Soviet proletarian art, the history of Russian philosophy, theories of power, the theory of machines and mediatheory and on Evreinov.

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).