Leningrad: Kultotdel LGSPS, 1924-37. 364 issues (of 529 published). Print runs vary from 5300 to 13000. All issues are in publishers wrappers. The condition varies, but generally could be described as very good to near fine. No wrappers (#47, 1925), no back wrapper (#52, 1927; #32/33, 1931). Please write to us if you need more detailed condition.
1924: 15 issues of 15 printed
1925: 31 issues of 52 printed
1926: 26 issues of 52 printed
1927: 37 issues of 52 printed
1928: 20 issues of 52 printed
1929: 49 issues of 52 printed
1930: 58 issues of 61 printed
1931: 23 issues of 32 printed
1932: 23 issues of 31 printed
1933: 15 issues of 33 printed
1934: 27 issues of 36 printed
1935: 20 issues of 24 printed
1936: 19 issues of 24 printed
1937: 1 issue of 12 printed
Two thirds of all the issues that were published. Rabochyi i teatr (RiT) was one of the most influential theatrical periodicals of the day. It was founded as a media for new Soviet theatre. It’s important to note that of all leftist theatre periodicals RiT survived the longest (only in 1937 it was reformed and renamed). Before that although the policy was changing with the times, the conception remained the same. ‘Novy Zritel’, ‘Rabis’, ‘Zrelischa’ were all terminated in late 1920s, while RiT survived, fluctuating along with the party line. But also because of that through the content of the issues the real transformation of Soviet Theatre could be seen.
The periodical included the reports of the stagings with the photos and drawings of stage designs, decorations and costumes. The signature style of the periodical was characterised by the use of the caricatures picturing the most prominent people in the area. In 1920s they were done by Elena Tamrucci in a sketchy leftist style.
Significant part of the periodical in 1920s was dedicated to cinema, in a section called ‘Rabochiy Ekran’ and other materials. For example in #6, 1924 the extensive article called ‘The workers of all planets, unite!’ Was published as a review on recently produced ‘Aelita’. Also the circus chronicle.
According to the philosophy of the periodical the life of the union non-professional theatres are covered as well. This includes theatres on the factories, workers’ clubs and culture clubs. Often the articles are illustrated with caricatures by Tamrucci or Kochergin, accompanied with photos.
The artists that worked with the periodical included Kochergin, Levin, Chekhonin, Tamrucci, Litvak, Getmanskiy, Ushin, Radlov, Kantorovich, Vengerovskaya etc.
Often in 1920s Lunacharskiy addressed the audience through the journal with his short articles on the nature of theatre and recent tendencies.
In the design of the magazines photomontages are used. Up to mid-1930s almost every wrapper design is significant.
All in all a remarkable collection of this highly influential periodical.