One of the good things about making a documentary film or an arts documentary film now is that you have the freedom provided by all the previous films that have been made which provide one with a myriad of styles and examples which you can draw on – not so much to copy but to use as inspiration or guidance and for dispensing with any boundaries. This does not mean a free form film but encourages a fluidity between genres , a mixing of styles which can work. So that the difference between The Fairground Booth and a feature film or a documentary or an avant-garde film will be blurred.
Bearing this in mind, The Fairground Booth is proceeding in production and editing almost simultaneously and with editing and writing working in tandem. One or two posts have been completed and put up on the special site that is dedicated to The Fairground Booth project and is almost turning into a self sufficient blog. The latest blog post can be accessed here and refers to the role of neoplatonism in Blok’s work and in The Fairground Booth in particular. A whole section will be included in the book which will accompany the film and will be included as part of the Russian Theatre Film Series. 
I have had some difficulties with a section of the book which deals with a comparison of The Fairground Booth with one of Shakespeare’s plays and which I will write about a little later. It comes as a result of reading Hoffman’s “Princess Brambilla” and some of Alexander Tairov’s comments about his production of the play in the early 1920s. Hoffman had a big influence on Russian theatre and the Russian Avant-garde as a whole.
Copernicus Films 