THE SOVIET THEATRE

New Zealand Listener, Volume 5, Issue 112, 15 August 1941, Page 8

THE SOVIET THEATRE

dts Intluence Extends Far Outside Russia

Written for "The Listener" By

DR.

LEON

LIPSON

ITH the outbreak of Russo German hostilities and the subsequent signing of the pact of alliance between Great Britain and the U.S.S.R. a hasty flow of "discoveries" about the puzzling vast country of the Soviet Union followed all over the world. For the Bolshevistic State kept more or less secret its achievements, setbacks, and defeats, and the head of the countryJoseph Dzugaschvili-Stalin — was often presented by cartoonists with his bushy moustache shaped into a question-mark. Now, when the Soviet successfully resists the might of Hitler, it becomes obvious that many surprises are in store for the world. To some people they are nice, agreeable surprises, to others (Axis) they reveal themselves as a brutal, unpleasant shock. There is, however, one phenomenon in the Republic’s life which was a well established fact, yet comparatively little known, especially to -us here. This phenomenon belongs to the cultural sphere of life and is called "theatre." The Russian theatre has been regarded for the last half century as excellent, yes, the best in the world. It is quite

A I impossible to give a historical review of the development of the Russian theatre in one article, no matter how short the retrospective period may be. We shall endeavour, however, to give a fragmentary idea of how important a role the contemporary theatre plays in the shaping of the life of the U.S.S.R. Romanticism to Realism The first problem is to differentiate between the Pre-Bolshevistic, Tsarist theatre and the present one. Both were equally good and as far as pure art is concerned equally successful. The actors in both cases reached the heights of artistic expression. The difference is hidden deeper: in the purpose the theatre is pre-destined to serve. The Tsarist theatre followed the art pour l’att maxim, while the Soviet theatre, after experimenting with all existing "isms," decided finally on _ so-called "socialist realism "-which, in fact, in-

corporates everything connected with daily life, labour, culture, emotions, ideas, etc. " The Theatre of Revolution," says a theatrical theorist in Russia, "has done away with pointless romanticism." It is true. The tealistic Russia of to-day has no time for romanticism. Their stage is a mirror of life-with its struggles, defeats. and victories. Mostly victories, of course! It serves to increase the morale and strength of the people, to weaken and ridicule the " bourgeois " way of life, to stifle. the counterrevolution. Though so prominently tendentious, the Russian theatre exerted enormous influence on practically every stage in the world. K. S. Stanislavsky, Jevreinov, Meyerhold, Nemirovich-Dac-henko-to mention only a few-made history of the theatre. These men have followers in every country in Europe. To belong to Stanislavsky’s school is a sufficient title to be regarded an excellent, sought-after actor. We do not want to be misunderstood. The influence of the Russian actors and directors is limited to technical and artistic details: the political influence and their ideas of usefulness of the stage itself is much more negligible. New Technique The Soviet Theatre luminaries introduced a new style of interior, decorative art, lighting, acting, and directing, During a play performed in the Russian theatre the element of surprise, sometimes most unexpected, is never eliminated or impossible. Their technique is most progressive unorthodoxy. To give a cross-section of a block of flats, for instance, to present the life goirig on there, ideas conceived and petty jealousies, the director divides the vast stage into numerous parts or room compartments, actors performing in each. True, the attention of the audience, being diverted by the variety of acts performed, cannot concentrate on the subject, nevertheless the real purpose of this scene, the picture cross-section, is admirably achieved. These theatres, serving their educational and political purpose, are, of course, propaganda-but propaganda at its best, subtlest, and therefore more effective. To call it propaganda in disguise of art would be unjust; we shall be nearer the truth calling it "useful art." Although the Soviet theatre produces mostly the plays of native writers, such as Aleksy Tolstoy, Illia Ehrenburg, Vishnevsky, Afinogenov, Mayakowsky, and others, works of playwrights of other nations are frequently being staged. Moliére, Corneille, Balzac, Shakespeare -all find their way on to the Russian stage and the performances are always remarkable successes. A National Institution The theatre in U.S.S.R. is a national institution par excellence. There is hardly a place in the Union where the theatre is not functioning. It has penetrated the Siberian tundra and Yokutia, the deeps of Kazakstan and the mountains of Ural, Ukraine and Siberia, the State and collective farms, etc. Where there is no standing theatre, a theatre "on wheels" penetrates, (Continued on next page)

THE SOVIET THEATRE (Continued from previous page) The importance and influence of the theatre in the nation’s life is fully tealised and appreciated by the Russian leaders. Every facility, honours, even privileges, are given to the mémbers of the theatre, and the artists and playwrights form actually the privileged class. Performances are organised on a grand scale, and admission for the Red Army members, party officials, etc., is free. Tickets are usually distributed a fortnight in advance and the auditorium is always packed to full capacity. It is obvious that theatres so conducted do not know the meaning of a " theatrical crisis," a complaint so often suffered by the stage in Europe. Theatres For Children Once the leaders of the State realised the enormous potentialities of the theatre in influencing the. minds of the people, they formed immediately a special theatre for children. Moulding the souls and hearts of the children is one of the biggest, most important, and

subtlest tasks of mankind. ‘The Bolsheviks take the responsibility, and they take it with an amazing courage and logic. The elders are Communists, and so the

children must be! To this end a theatre | for the young ones-the first of this type in the world, was created, and the famous Natalie Satz is its creator, director, and art leader. Contrary to custom, the actors .are’ not children; they are the most talented actors of the Republic, who brilliantly present the figures of children on the stage. The young audience express their criticism after the performances and only their opinion decides whether the play is a success or not. In the latter case tha play is immediately withdrawn. There is an interesting fact about the children’s theatre: the youngsters have to pay admission, a few kopeks, of course, nevertheless there is no exemption from this rule. The system was introduced in order to give the children the impression of being treated seriously,and also for the purpose of encouraging self-respect and selfreliance. The Continent quickly adopted the idea of Natalie Satz, and in recent years many children’s theatres of the Russian. type. have. been. created »with undoubtedly excellent results.