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Published online by Cambridge University Press: 27 January 2020
This article argues that a focus on Ukraine challenges the general understanding of culture in the revolutionary period, which either focuses on artists working in Moscow making Soviet art, or on non-Russian (Ukrainian, Jewish or Polish) artists in the regions making “national” art. Neither paradigm captures the radical shift in infrastructure during the imperial collapse and civil war. Placing the regions at the center of analysis highlights how Kyiv was an important cultural center during the period for later artistic developments in Europe and in the USSR. It shows that revolutionary culture is fundamentally wartime culture. Finally, the article argues that peripheral visions are central to a full geography of culture in order to trace how cultural infrastructures collapse and are re-constituted.
1 Dauber, Jeremy, The Worlds of Sholem Aleichem: The Remarkable Life and Afterlife of the Man Who Created Tevye (New York, 2013), 44–47Google Scholar; Makaryk, Irena R., Shakespeare in the Undiscovered Bourn: Les Kurbas, Ukrainian Modernism, and Early Soviet Cultural Politics (Toronto, 2004), 42–54CrossRefGoogle Scholar; Kozii, Inna, “Kyidramte v teatral΄no-mystets΄komu prostori Uman΄i” in Kurbasivs΄ki chytannia, vol. 2 (2007): 176–85Google Scholar; Iermakova, Natalia, Berezil΄ska kul΄tura: Istoriia, dosvid (Kyiv, 2012), 114–30Google Scholar.
2 https://www.royalacademy.org.uk/exhibition/revolution-russian-art (accessed May 10, 2019); https://www.tate.org.uk/whats-on/tate-modern/exhibition/red-star-over-russia/exhibition-guide (accessed May 10, 2019); https://thejewishmuseum.org/exhibitions/chagall-lissitzky-malevich-the-russian-avant-garde-in-vitebsk-1918–1922 (accessed May 10, 2019).
3 Balme, Christopher B., “The Bandmann Circuit: Theatrical Networks in the First Age of Globalization,” Theatre Research International 40, no. 1 (2015): 19–36CrossRefGoogle Scholar; Balme, , “Theatrical Institutions in Motion: Developing Theater in the Postcolonial Era,” Journal of Dramatic Theory and Criticism 31, no. 2 (2017): 125–40CrossRefGoogle Scholar.
4 Caplan, Debra, Yiddish Empire: The Vilna Troupe, Jewish Theater, and the Art of Itinerancy (Ann Arbor, 2018)CrossRefGoogle Scholar.
5 Piotrowski, Piotr, “Toward a Horizontal History of the European Avant-Garde,” in Bru, Sascha, Baetens, Jan, Hjartarson, Benedikt, Nicholls, Peter, Ørum, Tania, Berg, Hubert, eds., Europa! Europa?: The Avant-Garde, Modernism and the Fate of a Continent (Berlin, 2009), 49–58Google Scholar; importantly, the visual arts scene in Poland has produced exhibitions that center on 1918—the creation of the Polish state—and bring in the connected centers of east European modernism, see https://msl.org.pl/wydarzeniams/wystawy-archiwalne/awangarda-i-panstwo-wystawa,2634.html (accessed November 15, 2019). Yet this exhibit also seems to sidestep the collapse of the Russian tsarist state.
6 For a larger investigation of cultural dynamics in this period, see my book, Beau Monde on Empire’s Edge: State and Stage in Soviet Ukraine (Toronto, 2017)Google Scholar.
7 For more on early Soviet theater, and how it is explained, largely ignoring place, see Senelick, Laurence and Ostrovsky, Sergei, eds., The Soviet Theater: A Documentary History (New Haven, 2014)CrossRefGoogle Scholar.
8 In this case, reemerged, since of course Kyiv was a cultural capital in the years of Kievan Rus΄, and was an important provincial city in the Empire.
9 Tkacz, Virlana, “The Birth of a Director: The Early Development of Les Kurbas and his First Season with the Young Theatre,” Journal of Ukrainian Studies 12, no. 1 (Summer 1987): 22–54Google Scholar.
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11 Hanna Veselovs΄ka, “Kyiv’s Multicultural Theatre Life, 1917–1926” in Makaryk and Tkacz, eds., Modernism in Kyiv, 249; on Wysocka’s studio, see, Iwaszkiewicz, Jarosław, “Stanisława Wysocka i jej kijowski teatr ‘Studya’: Wspomnenie,” in Iwaszkiewicz, Teatralia (Warsaw, 1983), 7–72Google Scholar; on avant-garde in Kyiv, see, Myroslav Shkandrij, “Politics and the Ukrainian Avant-Garde,” in Makaryk and Tkacz, eds., Modernism in Kyiv, 219–41.
12 Kul΄tur-lige: Khudozhnii avan-hard 1910–1920 rokiv (Kyiv, 2007)Google Scholar; Aleksandra Podoprigorova, “Puti stanovleniia evreiskogo profesional΄nogo teatra v Ukraine v 20e gody XX stoletia” in Evreis΄ka istoriia ta kul΄tura v Ukraini—materialy konferentsii u Kyevi 21–22 Serpnia 1995 (Kyiv, 1995), 154–60; Gennady Estraikh, “The Yiddish Kultur-Lige,” in Makaryk and Tkacz, eds., Modernism in Kyiv, 197–212.
13 Mardzhanishvili, Kote, “Vospominaniia,” in Mardzhanishvili-Mardzhanov, Konstantine Aleksandres, Tvorcheskoe nasledie (Tbilisi, 1958), 8–68Google Scholar.
14 The production of Fuente Ovejuna has inspired much scholarship, see, Horodys΄kyi, Marsel΄ and Nellli, Volodymyr, eds., Spektakl΄, zvavshii v boi: Sbornik statei i vospominanii (Kyiv, 1970)Google Scholar.
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16 On the Berezil΄ theater and Kurbas more generally, see Makaryk, Ermakova, and my own book.
17 See Makaryk and Ermakova for descriptions of the production.
18 Kurbas, Les΄, “Shchodennyk,” in Labin΄s΄kyi, Mykola, ed., Les Kurbas: Filosofiia teatru (Kyiv, 2001), 51Google Scholar; my thanks to Harriet Murav for pointing out the intriguing choice of the word revity. As Larysa Bilous argues elsewhere in this forum, the Jewish experience is inseparable from the “Ukrainian” experience.
19 Vasyl΄ko, Vasyl΄, Teatru viddane zhyttia (Kyiv, 1984), 204Google Scholar; Halons΄ka, Oksana, “Rezhyser Ianuarii Bortnyk: Shliakhy formuvannia svitohliadno-mystets΄kykh pohliadiv ta perekonan,’” Kul΄tura narodov Prychernomor΄ia, no. 154 (2009): 78–82Google Scholar; Meleshkina, Iryna, “Les’ Kurbas i evreiskyi teatr,” in Kozak, Bohdan, ed., Zhyttia i tvorchist΄ Lesia Kurbasa (L΄viv, 2012), 346Google Scholar.
20 Pajączkowski, Franciszek, Teatr lwowski pod dyrekcją Tadeusza Pawlikowskiego (Crakow, 1961)Google Scholar; Osborne, John, The Meiningen Court Theater, 1866–1890 (Cambridge, Eng., 1988)Google Scholar.