‘유로지비의 귀’: V. 메이예르홀트의 실현되지 못한 공연 『보리스 고두노프』
Ears of Holy Fool: V. Meyerhld's Unrealized Production Boris Godunov
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Тhis paper examines the Meyerhold’s unrealized production of Alexander Pushkin’s Boris Godunov studying Meyerhold’s director’s notes and memoirs of participants. From 1934 Meyerhold prepared Jubilee production for the 100th anniversary of Pushkin’ death. He wanted to perfectly transfer Pushkin’s verses, characters and thought on his dramatic art to stage. He thought Pushkin as not only prominent dramatist but also director. He had the concept of a musical-dramatic production with the help of Prokofiev, differing from the routine performance of russian historical plays. Refused the accustomed archeological and religious settings, costumes and themes, he concentrated on rhythm of performance and passions of characters, especially Boris’s passion for power. Despite preparation with enthusiasm the production couldn’t be completed and performed. This paper infers that the reason was in the cultural circumstances of soviet mid-1930s and Meyerhold’s inevitable choice, knowing that he couldn’t satisfy his time’s aesthetic norms, but also couldn’t be tamed artist.
Abstract
Тhis paper examines the Meyerhold’s unrealized production of Alexander Pushkin’s Boris Godunov studying Meyerhold’s director’s notes and memoirs of participants. From 1934 Meyerhold prepared Jubilee production for the 100th anniversary of Pushkin’ death. He wanted to perfectly transfer Pushkin’s verses, characters and thought on his dramatic art to stage. He thought Pushkin as not only prominent dramatist but also director. He had the concept of a musical-dramatic production with the help of Prokofiev, differing from the routine performance of russian historical plays. Refused the accustomed archeological and religious settings, costumes and themes, he concentrated on rhythm of performance and passions of characters, especially Boris’s passion for power. Despite preparation with enthusiasm the production couldn’t be completed and performed. This paper infers that the reason was in the cultural circumstances of soviet mid-1930s and Meyerhold’s inevitable choice, knowing that he couldn’t satisfy his time’s aesthetic norms, but also couldn’t be tamed artist.
참고문헌 (18)
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