Пиноккио «красного десятилетия» на сцене и на экране

Yulia A Kleiman

doi:10.22455/2541-7894-2021-10-310-330

Abstract

Walt Disney’s studio created second full-length film Pinocchio in 1940. Its plot and interpretation of the characters were significantly different from the Carlo Collodi’s novel. Disney wrote enthusiastic letter to playwright and director Yasha Frank, who staged Pinocchio as theatre extravaganza in 1937. This production has become a landmark of the Children’s Theatre Project in the framework of Federal Theatre Project, being visually picturesque, inventive and up-to-date according to its social message. It was a story about the complexity of the emergence of a new human, which was especially significant in the context of the ideas of revising the structure of society. There is a reason to see in the Pinocchio script an attempt to substitute theatre dramaturgy by circus language, so essential for the Soviet theater of 1910–20s. The plot was split into numbers performed by professional variety and circus performers, and was reassembled: gags were an organic part of this new plot. However, Frank may not have escaped the influence of animation as well. The article is based on Yasha Frank’s working script, photos and reviews. It examines circus and cinema elements that were used for the theatre’s Pinocchio by Yasha Frank, and its influence to famous Walt Disney’ studio cartoon.

Highlights

Disney wrote enthusiastic letter to playwright and director Yasha Frank, who staged Pinocchio as theatre extravaganza in 1937. This production has become a landmark of the Children’s Theatre Project in the framework of Federal Theatre Project, being visually picturesque, inventive and up-to-date according to its social message
It was a story about the complexity of the emergence of a new human, which was especially significant in the context of the ideas of revising the structure of society
There is a reason to see in the Pinocchio script an attempt to substitute theatre dramaturgy by circus language, so essential for the Soviet theater of 1910–20s

Summary

Introduction

Пиноккио в спектакле Яши Франка не был классическим клоуном, но в его роли было много от клоунады, и именно это решение образа главного героя создавало стилистическое единство спектакля. На афише показа «Пиноккио» в Бостоне значилось, что спектакль Яши Франка — «комбинация из лучшего в водевиле, пантомиме и цирке». Как именно выглядел спектакль Франка в Бостоне, но в нью-йоркских спектаклях участвовали и еще и куклы: на ярмарке Пиноккио засматривался на Панча и Джуди и двух марионеток.

Results

Conclusion