[CHAGAL-MEYERHOLD-FAVORSKY] Moskovskii teatr revoliutsii. 1922-1932: Sbornik statei [i.e. Moscow Theater of Revolution. 1922-1932: Collection of Articles]
[CHAGAL-MEYERHOLD-FAVORSKY] Moskovskii teatr revoliutsii. 1922-1932: Sbornik statei [i.e. Moscow Theater of Revolution. 1922-1932: Collection of Articles]
[CHAGAL-MEYERHOLD-FAVORSKY] Moskovskii teatr revoliutsii. 1922-1932: Sbornik statei [i.e. Moscow Theater of Revolution. 1922-1932: Collection of Articles]
[CHAGAL-MEYERHOLD-FAVORSKY] Moskovskii teatr revoliutsii. 1922-1932: Sbornik statei [i.e. Moscow Theater of Revolution. 1922-1932: Collection of Articles]
[CHAGAL-MEYERHOLD-FAVORSKY] Moskovskii teatr revoliutsii. 1922-1932: Sbornik statei [i.e. Moscow Theater of Revolution. 1922-1932: Collection of Articles]
[CHAGAL-MEYERHOLD-FAVORSKY] Moskovskii teatr revoliutsii. 1922-1932: Sbornik statei [i.e. Moscow Theater of Revolution. 1922-1932: Collection of Articles]

[CHAGAL-MEYERHOLD-FAVORSKY] Moskovskii teatr revoliutsii. 1922-1932: Sbornik statei [i.e. Moscow Theater of Revolution. 1922-1932: Collection of Articles]

Moscow: Izd-vo Mosoblispolkoma, 1933.

Item #4485



221, [3] pp.: mounted photos, 10 ills. 26x18 cm. In original cardboards; illustrated endpapers. No dust jacket. Covers rubbed and bumped, fragments of spine lost, some foxing occasionally, binding weakened. Otherwise very good and clean internally.

First and only edition. One of 3100 copies.
Collection about the 10-year activity of the political satire theatre written by actors and designed by VKHUTEMAS artists.
Among the last activities of Marc Chagall in Vitebsk was the creation of stage and costume designs for the Theater of Revolutionary Satire (Terevsat) that was closely tied with the local ROSTA Windows. After the theater moved to Moscow in 1920 and received its own building, Vsevolod Meyerhold became a mastermind of this troop. He inspired the actors with his constructivist principles and staged performances filled with an idea of human doom in the capitalist world. In 1924, Meyerhold left this theater because of his own GosTIM. The Theater of Revolution proceeded stagings under the direction of Meyerhold’s successors Valerii Bebutov and Alexei Popov.
The design of this edition was produced by Vladimir Favorsky and his first students and colleagues: Pavel Pavlinov, Andrei Goncharov, Mikhail Pikov, Boris Grozevskii, Mikhail Tarkhanov. All of them contributed to the formation of principles of the Soviet book design. Internal decorations of this book were carved in the woodcut technique, even in the same style that proves that they all developed under the influence of Favorsky in the 1920-1930s.
The lithographic cover design was created by graphic artist and photographer Mikhail Tarkhanov (1888-1962). Born in Ukraine, he moved to Moscow in the pre-revolutionary period where he studied in the Moscow School of Painting, Sculpture and Architecture together with V. Mayakovsky and D. Burliuk, then in VKHUTEMAS under Favorsky, V. Kandinsky and N. Kupreianov. Tarkhanov experimented working in various techniques: woodcut, monotyping, etching, aquatint. In particular, he designed covers of a student’s report card for the Woodcut Department of VKHUTEMAS. He primarily designed book covers for different publishing houses and exhibited together with prominent avant-garde artists in 1919-1931.
Endpapers, half-titles and the whole layout were designed by artist and type designer Boris Grozevsky (1899-1955). He created different endpapers featuring impressive two-color silhouettes of actors in stage costumes. A frontispiece, title page, tailpieces and 2 illustrations on separate leaves were engraved by graphic artist Mikhail Pikov (1903-1973). Observing literature of the past eras, he transformed any book designing into scientific research. Both the frontispiece and the title page show socialist people - actors, workers, demonstrators - that were mostly depicted without faces and seem dispiriting and intense.
Also, VKHUTEMAS student Andrei Goncharov (1903-1979), professor Pavel Pavlinov (1881-1966) and coryphaeus Vladimir Favorsky (1886-1964) himself provided 2 woodcuts each.
The engravings on separate leaves feature different acts from performances of the Moscow Theater of Revolution. The list of engravings at the end of the book contains names of actors involved, their roles, as well as determination of acts and plays depicted. Apart from that, the edition is richly illustrated with mounted photographs of the first director Vsevolod Meyerhold and his successor Alexei Popov (directed in 1931-1935), founding members of the troop who still worked in 1933, chief artist of the theater Ilya Shlepianov, other contributors and pictures of productions.
The collection gathered texts about the Moscow Theater of Revolution and its input into Soviet theatrical art by the chairman of the RABIS Iakov Boiarskii, playwright and journalist Osaf Litovskii, music historian Victor Gorodinskii, theatrical director Samuel Margolin who staged performances in Yiddish and Russian. Then 11 articles were added by the leading actors about their work in the theater.

Worldcat shows copies located in LoC, Princeton, Columbia, Yale, Harvard, Stanford, Kansas, Wisconsin-Madison, Chicago, New Mexico, Michigan, North Carolina-Chapel Hill, Case Western Reserve, New York Universities, CUNY, UC Berkeley and NRLF, Getty Institute, Hebrew Union and Brooklyn Colleges, NYPL.

Sold