MTU Library Catalogue

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Theatre in revolution : Russian avant-garde stage design, 1913-1935 / Nancy Van Norman Baer ; with contributions by John E. Bowlt ... [et al.]

By: Baer, Nancy Van Norman.
Contributor(s): Bowlt, John E | California Palace of the Legion of Honor | IBM Gallery of Science and Art | Armand Hammer Museum of Art and Cultural Center.
Material type: materialTypeLabelBookPublisher: New York : Thames and Hudson, 1991Description: 207 p. : ill. (some col.) ; 31 cm.ISBN: 0500276463 .Subject(s): Theaters -- Soviet Union -- Stage-setting and scenery -- Exhibitions | Scene painting -- Soviet Union -- History -- 20th century -- Exhibitions | Constructivism (Art) -- Soviet UnionDDC classification: 792.025
Holdings
Item type Current library Call number Copy number Status Barcode
General lending MTU Crawford College of Art and Design Library Lending 792.025 (Browse shelf(Opens below)) 1 Available 00064302
Total holds: 0

"The Fine Arts Museums of San Francesco, California Palace of the Legion of Honor, 9 November 1991 through 16 February 1992; IBM Gallery of Science and Art, New York, New York, 14 April 1992 through 13 June 1992; The Armand Hammer Museum of Art and Cultural Center, Los Angeles, California, 25 August 1992 through 2 November 1992"--T.p. verso.

Includes index.

Reviews provided by Syndetics

CHOICE Review

This lavishly illustrated exhibition catalog embodies the strengths and weaknesses of its type. The essays are clearly in service to the pictures, on loan from Moscow's Bakhrushin State Central Theatrical Museum, and to the event that they helped constitute. Thus, even the best essays seem more like scenarios with pieces missing. The catalog numbers for the pictures, cited in the essays, do not succeed one another in the book's overall text, a situation that lends some difficulty to the reading experience. The essays range from the layperson's secondary source-based overview and rehash to the specialist's fresh reading of familiar art works, aided by primary source materials. The essays are most successful when dealing with contructivism and mechanical gesture in dance and with caprice, eccentrism, volumetric nonobjectivity, and architecturalism in design. The themes of Western influence on Eastern forms and of mechanization and rehumanization span the book. Overall, the quality of thought holds up, and the book's interdisciplinary strategy works well. Useful annotated notes follow each essay, and selected manifestos, plot synopses of plays cited, and an exhibition checklist conclude this handsome commemorative and explanatory study, which will be appropriate for graduate students and upper-division undergraduates.-S. Golub, Brown University