My Disillusionment in Russia - Emma Goldman (top fiction books of all time TXT) 📗

The void in literature, poetry, and art is felt most in the theatres, the State theatres especially. I once sat through five hours of acting in the Alexandrovsky Theatre in Petrograd when Othello was staged, with Andreyeva, Gorky’s wife, as Desdemona. It is hard to imagine a play more atrociously presented. I saw most of the other plays in the State theatre and not one of them gave any hint of the earthquake that had shaken Russia. There was no new note in interpretation, scenery, or method. It was all commonplace and inadequate, innocent even of the advancement made in dramatic art in bourgeois countries, and utterly inconsequential in the light of the Revolution.

The only exception was the Moscow Art Theatre. Its performance of Gorky’s Night’s Lodging was especially powerful. Real art was also presented in the Stanislavsky Studio. These were the only oases in the art desert of Russia. But even the Art Theatre showed no trace of the great revolutionary events Russia was living through. The repertoire which had made the Art Theatre famous a quarter of a century before still continued night after night. There were no new Ibsens, Tolstoys, or Chekhovs to thunder their protest against the new evils, and if there had been, no theatre could have staged them. It was safer to interpret the past than to voice the present. Yet, though the Art Theatre kept strictly within the past, Stanislavsky was often in difficulties with the authorities. He had suffered arrest and was once evicted from his studio. He had just moved into a new place when I visited him with Louise Bryant who had asked me to act as her interpreter. Stanislavsky looked forlorn and discouraged among his still unpacked boxes of stage property. I saw him also on several other occasions and found him almost hopeless about the future of the theatre in Russia. “The theatre can grow only through inspiration from new works of art,” he would say; “without it the interpretive artist must stagnate and the theatre deteriorate.” But Stanislavsky himself was too much the creative artist to stagnate. He sought other forms of interpretation. His newest venture was an attempt to bring singing and dramatic acting into cooperative harmony. I attended a dress rehearsal of such a performance and found it very impressive. The effect of the voice was greatly enhanced by the realistic finesse which Stanislavsky achieved in dramatic art. But these efforts were entirely the work of himself and his little circle of art students; they had nothing to do with the Bolsheviki of the Proletcult.

There are some other innovations, begun long before the advent of the Bolsheviki and permitted by them to continue because they have no bearing on the Russian actuality. The Kamerney Theatre registers its revolt against the imposition of the play upon the acting, against the limitation of expression involved in the orthodox interpretation of dramatic art. It achieves noteworthy results by the new mode of acting, complemented by original scenery and music, but mostly in plays of a lighter genre.

Another unique attempt is essayed by the Semperante Theatre. It is based on the conception that the written drama checks the growth and diversity of the interpretive artist. Plays should therefore be improvised, thereby affording greater scope to spontaneity, inspiration, and mood of the artist. It is a novel experiment, but as the improvised plays must also keep within the limits of the State censorship, the work of the Semperantists suffers from a lack of ideas.

The most interesting cultural endeavour I met in Kiev was the work of the Jewish Kulturliga. Its nucleus was organized in 1918 to minister to the needs of pogrom victims. They had to be provided for, sheltered, fed, and clothed. Young Jewish literary men and an able organizer brought the Kulturliga to life. They did not content themselves with ministering only to the physical needs of the unfortunates. They organized children’s homes, public schools, high schools, evening classes; later a seminary and art school were added. When we visited Kiev the Kulturliga owned a printing plant and a studio, besides its other educational institutions, and had succeeded in organizing 230 branches in the Ukraine. At a literary evening and a special performance arranged in honour of the Expedition we were able to witness the extraordinary achievements of the Kulturliga.

At the literary evening Perez’s poem “The Four Seasons” was rendered by recitative group singing. The effect was striking. Nature at the birth of spring, birds sending forth their joyous song of love, the mystery and romance of mating, the ecstasy of renewing and becoming, the rumbling of the approaching storm, the crash of the mighty giants struck by lightning, rain softly falling, the leaves fluttering to earth, the somberness and pathos of autumn, the last desperate resistance of Nature against death, the trees shrouded in white⁠—all were made vivid and alive by the new form of collective recitative. Every nuance of Nature was brought out by the group of artists on the improvised little stage of the Kulturliga.

The next day we visited the art school. The children’s classes were the more interesting. There was no discipline, no rigid rules, no mechanistic control of their art impulses. The children did drawing, painting, and modelling⁠—mostly Jewish motifs: a pogromed city, by a boy of fourteen; a devout Jew in his tales praying in the synagogue, mortal fear of the pogrom savages written in his every feature; an old Jewish woman, the tragic remnant of a whole family slaughtered; and similar scenes from the life of the Russian Jew. The efforts were often crude, but there was about them nothing of the stilted manner characteristic of the Proletcult. There was no attempt to impose a definite formula on art expression.

Later we attended the studio. In a bare room, without scenery, lighting, costumes, or makeup, the