Инкорпорирование театральных идей В.Э. Мейерхольда в сценическую практику США: режиссерская деятельность Герберта Бибермана

Abstract

The study focuses on the incorporation of Vsevolod Meyerhold’s theatrical methodology to American stage practices specifically through the directing activities of Meyerhold’s follower in the US Herbert Biberman. The characteristic of the main ways for exporting Meyerhold’s ideas overseas are provided. Among them — the arrival of American theatrical figures in Moscow, studying with the master at the Meyerhold’s Moscow State Theatre, as well as the translation and publication of Soviet theatrical literature about the director and his method. The reception of Meyerhold’s stage work is given by theatrical figures of the USA (among them — Brooks Atkinson, Henry Dana, Norris Houghton). On the basis of Biberman’s first two productions, the material for which was Soviet dramaturgy — “Konstantin Terekhin (Rust)” by Vladimir Kirshon and Andrey Uspensky and “Roar, China!” by Sergey Tretyakov — the continuity of the stage practice of the American director to the Meyerhold’s theatrical principles is revealed. The Broadway production of “Rust” was distinguished by poster expressiveness and conciseness of style, generalized and relief techniques of the acting. In the performance based on Tretyakov’s play, Biberman built expressive, almost graphic mise en scene and acting angles. The author presents an analysis of “Meyerholdovsky” theatrical ideas overseas on the basis of materials from the collections of the New York Public Library for the Performing Arts (newspaper and magazine reviews) and the Russian State Archive of Literature and Arts (RGALI, Moscow), as well as documents from the Houghton Library at Harvard University and the Beinecke Rare Book and Manuscript Library at Yale University. The work is aimed at expanding both the understanding of Vsevolod Meyerhold’s theatrical ideas in the United States and the stage fate of Soviet plays in America.