By Manon van de Water
This ebook exhibits how the totalitarian ideology of the Soviet interval formed the practices of Soviet theatre for early life. It weaves jointly politics, pedagogy and aesthetics to bare the complicated intersections among theatre and its socio-historical stipulations. It paints an image of the theatrical advancements from 1917 via to the recent millennium.
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Extra resources for Moscow Theatres for Young People: A Cultural History of Ideological Coercion and Artistic Innovation, 1917–2000
IDEOLOGICAL SHIFTS IN POST-TOTALITARIAN RUSSIA Mikhail Epstein characterizes the late Soviet years (under Gorbachev’s reign) as a “continuous, complete ideological environment that was 36 Moscow Theatres for Young People transparent, transcollective, transparty, and ultimately, transideological, because no particular ideological position remained consistent or comprehensive” (159). This was a time when ideology became the reality, when there were no material goods but plenty of ideas on how to get them, how to feed the country, how to clean the air.
On the other hand, revisions in the doctrine will raise doubts about the inherent quality of the doctrine as a guide for decision making. This, then, required “the political elite to maintain a delicate balance between the demand for continuity and the need for change in its exposition of the official Soviet ideology” (2–3). ” It was only at the beginning of the 1990s, that is, after Gorbachev’s decline, that the attempt to explain and point out the path to communism was written off as a hopeless effort.
The process of thinking, which, under the name of the ‘Idea,’ he even transforms into an independent subject, is the demiurge [the creator, 20 Moscow Theatres for Young People the maker] of the real world. . ” (Das Kapital 1: 27) Reality is not a product of ideas (idealism), but ideas are a product of reality (materialism). Thus, “[i]t is not the consciousness of men that determines their existence, but their social existence that determines their consciousness” (Marx, Contribution 21). Marx maintained that there is also a dialectical relationship between people and the reality itself.
Moscow Theatres for Young People: A Cultural History of Ideological Coercion and Artistic Innovation, 1917–2000 by Manon van de Water