연극과 혁명 - 혁명 전후 메이에르홀드 무대의 실험과 혁신을 중심으로 -

Abstract

Russia went through three revolutions for about 10 years in the early 20th century. Considering that a revolution represents the will the members have, deeply imagining the utopian future, or the future that is different from the present, the physical time, namely the process is necessary to have critical mind about the reality and seek agreement. The three revolutions of Russia make us guess how ardent and resolute are the identical recognition of the reality and the imagination of the future. It is necessary to consider that the cultural revolution practicing "dynamic interaction" in the historical context of Russian revolutions was the unprecedented time of experiment and innovation in the cultural history of Russia. Russian avant-gardes experienced the unprecedented process of experiment and innovation through russian revolutions in 1917. There was a constant corresponding relation between political-economic revolutions and cultural-artistic revolutions from 1918 to 1923. It may be possible because politics allowed experiments throughout art and culture in the revolutionary period in 1917, though it was different in the ideological system of socialism that transformed into Stalin‘s one-man dictatorship. That formed a special relationship between russian revolutions and dramas, and the purpose throughout the cultural field including Russian dramas was to carry out revolutions through dramas as a helper and companion performing political revolutions. In that period, artists accepting revolutions as their artistic tasks rose a revolt about the same age through works of art, since they dreamed the different art of the future by criticizing the contemporary art. It should be understood in the practical aspect to proceed from the contemporary art to the new art through the awareness and critical analysis of such reality in the center of their revolutions. This study argues that political and social revolutions should be followed by revolutions in dramas, by understanding the revolution in 1917 and a great meaning of Russian cultural revolution in the historical context. The purpose of the study is to examine how they actualized on stages 'October of dramas' constructed with Meyerhold as a central figure and the intention point toward art they advocated in processes of revolutions in order to continue the experiments of new art and new dramas in the center of revolutions. Specifically, this study attempts to understand the relation between dramas and revolutions, that is to say the revolution of dramas prompted from social revolutions, focusing on the stage in the latter part of constructivism and 'October of Theatre' as the basis to mark the peak of the biomechanical system. This study started with the question about what we should obtain in such historical processes, although their purposes of experiment and innovation were not achieved in the end.