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

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

Nikolai Evreinov: »The Storming of the Winter Palace«

Softcover, 320 pages

DE

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and drawings, and shows how not only in the Soviet Union did the photograph of the theatrical “storming” become a historical document of the October Revolution.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

  • 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 Recollections of the staging to celebrate the third anniversary of the October Revolution (unpublished typescript, 1924)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

  • 50–54

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

    Nikolai Evreinov

  • 55–58

    Open-Air Theater (1920)

    Konstantin Derzhavin

  • 59–60

    A Miracle (1920)

    Konstantin Derzhavin

  • 61–63

    The Mass as Such (1920)

    Konstantin Derzhavin

  • 64–66

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

    Konstantin Derzhavin

  • 67–68

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

    Iosif Slepian, Dmitri Tëmkin

  • 69

    November Eight 1920 (1920)

    Lev Nikulin

  • 70–74

    Baltic Sea (1932)

    Lev Nikulin

  • 75–80

    On Mass Actions and More Important Things (1932)

    Sergei Radlov

  • 81–87

    Nikolai Evreinov (1960)

    Iuri Annenkov

  • 88–91

    Mass Spectacles (1960)

    Nikolai Petrov

  • 93–128

    Photographs of the 1920 staging in sequence

  • 131

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

    Anonymous

  • 132–133

    On the October Celebrations (1920)

    Vlagin

  • 134–135

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

    Anonymous

  • 136–137

    An Exhibition in Memory of the Great October (1920)

    F. Lenski

  • 138

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

    Anonymous

  • 139

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

    Anonymous

  • 140–141

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

    Anonymous

  • 142

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

    Anonymous

  • 143–147

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

    Nikolai Shubski

  • 148–151

    The Storming of the Winter Palace (1920)

    Anonymous

  • 152–158

    The Chaos of the Arts (1921)

    Arthur Holitscher

  • 159–166

    The Pageants of 1920 (1922)

    Adrian Piotrovski

  • 167–176

    The Successes of the New Theater (1922)

    Platon Kerzhentsev

  • 177–196

    Theatricalized Life (1926)

    René Fülöp-Miller

  • 197–211

    The Monumentalist Style of the Revolutionary Spectacles (1930)

    Nina Gourfinkel

  • 212–215

    The Theaters and Pageants of Petrograd in the Epoch of War Communism (1933)

    Aleksei Gvozdev, Adrian Piotrovski

  • 216–222

    Cinema and Theater. Nikolai Evreinov (1943)

    Sergei Eisenstein

  • 225–231

    History is Written with the Lens (1971)

    Leonid Volkov-Lannit

  • 233–253

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

  • 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

  • 281–289

    Battlefield History: Artistic Reenactments as Participatory Deconstructions of History

    Inke Arns

  • 293–302

    List of figures

  • 303–315

    Glossary

  • 317–320

    Index

  • History of photography
  • Russia
  • revolution
  • historic documents

My language
English

Selected content
English, French

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

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.
Other texts by Igor Chubarov for DIAPHANES

Sylvia Sasse

studied Slavic and German Studies in Constance and St. Petersburg (1990–1996). She received her PhD from the University of Constance in 1999 and obtained her habilitation at Freie Universität Berlin. After her teaching and research work at Freie Universität Berlin (1999–2001), the Center for Literary and Cultural Research Berlin (2001–2005) and UC Berkeley (2002–2003) she was Professor for Eastern Slavic Literature at the Humboldt University of Berlin. Since 2009 she has been Full Professor of Slavic Literature at the University of Zurich and co-director of the ZKK (Centre for Arts and Cultural Theory). She is currently working on the interference between literature and law, conceptions of escape and performance art in Eastern Europe.

Other texts by Sylvia Sasse for DIAPHANES
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