Characteristics of stagings between 1918 and 1920 Revolutionary Mass Festivals

1 characteristics of stagings between 1918 , 1920

1.1 decorations , “stage” designs
1.2 actors , spectators
1.3 reception , cultural impact

characteristics of stagings between 1918 , 1920
decorations , “stage” designs

the emergence of post-revolutionary mass festivals closely linked question of re-configuration of historical memory, evidenced monuments in cities on russia. accordingly, narkompros issued decree on monuments of republic, called immediate dismantling of tsarist monuments. decree shows, however, new monuments should not mere objects of historicist contemplation rather designed parts of constructive process harbored in mass celebrations.

the same commission [a special commission of people s commissars education , others] sought mobilize artists , organize broad competition design of monuments celebrate great days of russian socialist revolution.

the first festival take place on may day 1918. in moscow, constructivist architects alexander , viktor vesnin designed decorations it. in petrograd, decorations first may day parade commissioned avant-garde artists, commonly referred futurists. @ moment, potential of abstract art bring re-education of masses considered disputable. lunacharsky noted in hist diary:

of course absolutely posters criticized. after all, easy criticize futurists . in essence remains of real cubism , futurism here precision , force of general form , brightness of colour essential paintings intended open air , giant audience hundreds of thousands of heads.

palace square (formerly uritsky square), saint petersburg



natan altman s decorations of uritsky square first anniversary of russian revolution

the petersburg celebrations of first anniversary of revolution in 1918 larger may day celebrations. involved numerous architects , artists in 85 separate projects across city. prominent of these projects decorations palace square, called uritsky square, cubist painter natan altman. in designs contrasted neoclassical architectural ensemble of square abstract constructions intended represent political new order. conflict between new , old thereby visualized , allowed spectator physically experience within city space. altman art gains meaning structurally, through collective interaction only. constitutive feature of proletarian art, accounts political relevance of decorations. however, approach not allow obligatory political content of art, attacked majority of later soviet criticism of avant-garde.

later celebrations, nikolai evreinov s storming of winter palace of 1920, put stronger emphasis on actual acting rather on decorations. last extensive project of decorations planned celebrations commemorating third international in 1921 constructivists alexander vesnin , liubov popova. supposed large-scale open air installation consisting of model of “fortress of capitalism” , “communist future city,” connected ties , banners held airships. envisioned site installation khodinka field in northern moscow. site meant serve stage historical mass spectacle restaging struggle of proletarian revolution. however, vesnin s , popova s plans not realized indicative of underlying conflict between avant-garde aesthetics , marxist ideology.

alexander vesnin/liubov popova: design mass spectacle in honor of third comintern congress


actors , spectators

the last of great mass spectacles nikolai evreinov’s “storming of winter palace” , largest in terms of involved actors , spectators. performed third anniversary of october revolution in 1920, when staged directly on palace square , in winter palace in petrograd. battleship aurora, shot set off revolutionary events in 1917, again gave starting signal. nikolai evreinov directed mass of 8,000 performers, many of whom amateurs recruited army. event marks turning point, because, in contrast prior celebrations, meticulously orchestrated – despite massive number of participants , spectators, whom event demanded strict discipline in order not turn mere chaos. action centered around 2 confronting parties of revolution, stationed on 2 platforms – red platform representing proletariat, , white platform representing kerensky s provisional government , bourgeoisie. documented 2,685 participants on white platform, including 125 ballet dancers, , 100 circus artists.

the event in 1920 attended large numbers of spectators - according estimates around 100,000. important note borders between spectatorship , acting not quite clear, since playing role in staging meant experiencing staging such. though evreinov used light , sound effects, audience’s perception of actual action beyond impression of overwhelmingness of event was, however, limited. characteristic feature of revolutionary mass spectacles that, unlike traditional theatrical stagings, conveyed subjective experience rather total experience of events in entirety.

reception , cultural impact

storming of winter palace: still sergei eisenstein s october: ten days shook world, 1928

the mass celebrations permeated air of carnivalesque joy , people s notion of achieved freedom. may appear highly paradoxical in midst of violence , economic hardship revolution had brought about. participatory spectatorship @ “storming of winter palace” vivid example of how mass spectacle created historical myth, , replaced reality of less dramatic events of 1917 revolution more impressive memory. accordingly, 1928 movie october: ten days shook world, sergei eisenstein chose represent not accurate picture of 1917 storming of winter palace, rather evreinov’s re-enactment.

in analysis of revolutionary mass spectacle, susan buck-morss discusses dual nature of these stagings , complicated relation state power. perpetuate historical past present , not clear, whether power on past lies in hands of masses longer or whether instead orchestrated state, paradoxically achieved power through revolutionary actions. in re-staging revolution, state seeks confirmation of power, @ same time stagings inevitably lack liberating character of spontaneous revolution. inherent ambivalence of revolutionary mass festivals explains why, genre, later eschewed in favor of more uniform annual soviet holidays such may day, anniversary of revolution, , - after world war ii - victory day.