Journey to Ogasawara
In September 2005 we traveled from Moscow to Japan to make a film about the Russian futurist, poet and artist, David Burliuk, also known as the Father of Russian Futurism. The film was one of a six part series about the Russian Avant-garde. The visit involved a journey to Ogasawara for several days. This book is an account of our voyage to this island in the Pacific Ocean.
Encounters with the Russian Avant-garde
Encounters with the Russian Avant-garde complements the series of six films made by Michael Craig and Copernicus Films about the Russian Avant-garde of the 1920s and 30s. Fully illustrated including stills from most of the films, it is not only an account or explanation but also an introduction or to be more specific an “encounter” with this exciting phenomenon. The title reflects an active relationship: firstly through the experience of living in Moscow for many years, plus a direct encounter with the buildings, the architecture and the very territory in which much of the avant-garde arose and to some extent still exists.
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The Russian Theatre Film Series
The Russian Theatre Film Series is an account of this arts documentary series with all its pitfalls, successes, limitations and achievements. The three films which have so far been completed are “Meyerhold, Theatre and the Russian Avant-garde”, “Stanislavsky and the Russian Theatre” and “Vakhtangov and the Russian Theatre”. This book is part of the overall project – The Russian Theatre Film Series and is a milestone and a marker in this developing project. It is also a commentary on what it means to make an independent arts documentary film series in a foreign country namely Russia.
Blok, Meyerhold and The Fairground Booth
Blok, Meyerhold and The Fairground Booth Blok wrote the play The Fairground Booth in 1906 in the wake of the 1905 revolution which was seen as a precursor to the 1917 October revolution. As Blok himself said it seemed he “dragged it up out of the police department of his soul”. The play itself was received with a mixture of derision and delight when it was first performed by Blok and Meyerhold in 1906. Blok and Meyerhold’s production of the The Fairground Booth was one of those seminal plays which changed the whole direction and context of theatre in Russia. Meyerhold’s subsequent innovations had an impact not simply on the course of Russian theatre but also to a large extent influenced the direction in which other directors developed their ideas and work. The Fairground Booth was a prototype for the explosion of theatrical innovations spearheaded by Meyerhold but it also inspired such directors as Tairov and Vakhtangov. This book intended as an interpretation of the play as such but is written with the aim of creating a context in which this enigmatic and often overlooked play can be understood and enjoyed.
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