DOI Heft:
No. 357 (December 1922)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21396#0371
STUDIO-TALK
" BIEDERMEYER " DOLL'S
ROOM WITH MOVABLE
FIGURES. BY KATHE KRUSE
conventional scenery and to introduce
symbols, the latest of which are stamped
with the impression of the enthusiastic
proletariat. At first there was a kind of
Futurist symbolism as in Pletnieff's
" Lena," but now it is realistic, touched
with the extreme of Japanese simplification.
A few window-frames, fences and gates
are put together to express a newly built
State, a 0 a a a 0
To see the Russian Theatre as it was in
1914 one must either go to the Moscow
Art Theatre or to the two Russian theatres
in Berlin—the " Blaue Vogel " (Blue Bird),
and the " Vanka Vstanka " (the latter
deriving its name—"Jack stand up "—from
that of the familiar Russian wooden toy
figures, which, weighted with lead at the
base stand up in whatever position they are
placed). The one preserves its "inspired "
realism according to which every detail is
reproduced with the hair for hair fidelity
of the little Dutch masters ; the others give
delightful versions of the Balaieff super-
cabaret entertainments, stylized burlesques
in which big design, strong colour and
interpretative movement play leading parts.
It should be said that the pieces acted
at the Moscow Art Theatre are chosen
strictly to suit the revolutionary mood of
the public, and the setting itself is not
permitted to contain anything of a bour-
geois nature likely to corrupt a working-
class audience. Thus, Ibsen's and some
of Chekhoff's plays and backgrounds are
forbidden. In the Berlin emigre theatres
on the other hand the pre-revolution in-
dividualistic tendency has full play. 0
In Russia the workers' theatre movement
has spread even to the remotest villages.
In the Famine District, where the horrors
of starvation are indescribable, one may see
children making puppets out of rags in the
likeness of the mid nineteenth-century
characters in Gogol's plays. 0 a
t^-f ' Huntly Carter.
Frau Kathe Kruse's dolls are well
known and appreciated both on account
of their artistic qualities and because they
are made of indestructible and washable
material. Besides a large variety of dolls
proper, her creations include some clever
reproductions of types from past genera-
tions such as the group illustrated above.
35i
" BIEDERMEYER " DOLL'S
ROOM WITH MOVABLE
FIGURES. BY KATHE KRUSE
conventional scenery and to introduce
symbols, the latest of which are stamped
with the impression of the enthusiastic
proletariat. At first there was a kind of
Futurist symbolism as in Pletnieff's
" Lena," but now it is realistic, touched
with the extreme of Japanese simplification.
A few window-frames, fences and gates
are put together to express a newly built
State, a 0 a a a 0
To see the Russian Theatre as it was in
1914 one must either go to the Moscow
Art Theatre or to the two Russian theatres
in Berlin—the " Blaue Vogel " (Blue Bird),
and the " Vanka Vstanka " (the latter
deriving its name—"Jack stand up "—from
that of the familiar Russian wooden toy
figures, which, weighted with lead at the
base stand up in whatever position they are
placed). The one preserves its "inspired "
realism according to which every detail is
reproduced with the hair for hair fidelity
of the little Dutch masters ; the others give
delightful versions of the Balaieff super-
cabaret entertainments, stylized burlesques
in which big design, strong colour and
interpretative movement play leading parts.
It should be said that the pieces acted
at the Moscow Art Theatre are chosen
strictly to suit the revolutionary mood of
the public, and the setting itself is not
permitted to contain anything of a bour-
geois nature likely to corrupt a working-
class audience. Thus, Ibsen's and some
of Chekhoff's plays and backgrounds are
forbidden. In the Berlin emigre theatres
on the other hand the pre-revolution in-
dividualistic tendency has full play. 0
In Russia the workers' theatre movement
has spread even to the remotest villages.
In the Famine District, where the horrors
of starvation are indescribable, one may see
children making puppets out of rags in the
likeness of the mid nineteenth-century
characters in Gogol's plays. 0 a
t^-f ' Huntly Carter.
Frau Kathe Kruse's dolls are well
known and appreciated both on account
of their artistic qualities and because they
are made of indestructible and washable
material. Besides a large variety of dolls
proper, her creations include some clever
reproductions of types from past genera-
tions such as the group illustrated above.
35i