[EXPERIMENTAL THEATRE AGAINST THE PASSIVE VIEWING] Pedagogicheskii teatr [i.e. Pedagogical Theatre]. Issues 1-2. [all printed]
[EXPERIMENTAL THEATRE AGAINST THE PASSIVE VIEWING] Pedagogicheskii teatr [i.e. Pedagogical Theatre]. Issues 1-2. [all printed]
[EXPERIMENTAL THEATRE AGAINST THE PASSIVE VIEWING] Pedagogicheskii teatr [i.e. Pedagogical Theatre]. Issues 1-2. [all printed]
[EXPERIMENTAL THEATRE AGAINST THE PASSIVE VIEWING] Pedagogicheskii teatr [i.e. Pedagogical Theatre]. Issues 1-2. [all printed]
[EXPERIMENTAL THEATRE AGAINST THE PASSIVE VIEWING] Pedagogicheskii teatr [i.e. Pedagogical Theatre]. Issues 1-2. [all printed]

[EXPERIMENTAL THEATRE AGAINST THE PASSIVE VIEWING] Pedagogicheskii teatr [i.e. Pedagogical Theatre]. Issues 1-2. [all printed]

Moscow: Izd. Gos. masterskoi pedagogicheskogo teatra, 1925-1926. Item #752

38, [2] pp.: ill.; 54, [2] pp.: ill. 26x17,5 cm. In original constructivist wrappers. In very good condition. Tears of the spine with small losses (#1); spine restored, soiling of the covers (#2). Both copies are clean internally.

Print run of issues was 2000 copies. Extremely rare set.
Constructivist cover design by avant-garde artist Nisson Shifrin (1892-1961), member of Jewish art group Kultur-Liga who worked as the set designer. The editions are illustrated throughout with the photographs by Abram Sterenberg, one of the leaders of the Soviet photography, and the costume designs by G. Miller.
This is two collections of articles on the experimental approach to the interaction between children and theatre. The State Workshop of Pedagogical Theatre was established under direction of Grigori Roshal in 1921 and significantly contributed to the Soviet system of Young Spectator's Theatres. After the second issue, the edition ceased the publication.
The first issue premiered performances that children either play or watch, but both cases involved children to participate in acting - they could criticize the script, correcting and enlarging it. The actors chiefly improvised: “There is no need for finished text, no need for a script. The pedagogue should not directly interfere in the play”. The actors changed the costumes almost momentary, staying on the stage, and used the simplest things for the stage design. When the spectators got to the hall they had already started participating in the show. The issue #1 published the girl’s impression on how the audience had to jump from one box to another, then they got to the basement with nothing in it and everyone did not know where the show would start.
To the issue #2, the Workshop of Pedagogical Theatre expanded their influence on the province and managed to organize the children having rest in the summer sanatoriums. For education purposes the performers attracted the puppet theatre, forming the Soviet methods of this kind of folk performances.
Initially, this workshop was evidence that the show was not limited in space. Later the basement was changed to the workshop with stage, but the major principle stayed the same. There was no need for numerous decorations and the amount of attention to the objects around was increasing. In fact, the agitprop theatre ‘Blue Blouse’ was established in the same years, embodying the close approach to performing.

Worldcat shows the only copy of the first issue located in Getty Institute.

Price: $1,900.00

Status: On Hold
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