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Constellation Asja “Can truth be mortal, falsehood live for ever?” – “I think that’s clear.” “Where have you seen long-overlooked injustice?” – “Here.” “Who knows a man whose violence made his fortune?” – “All of us do.” 01/20 “Who then in such a world could rout the oppressor?” – “You.” – Bertolt Brecht, “Questions and Answers” I considered it a necessity to work with people who, just like me, saw the revolutionary movement as the driving Andris Brinkmanis force, the engine of their creation. To me, the whole idea behind the proletarian theater revolved around the building of a Constellation community that would be human and artistic, but also political. Asja – Erwin Piscator, The Political Theater Prologue: The Porous Generation of the Avant-Garde The “turmoiled” beginning of the twentieth century in Europe and Russia – with Western modernity and capitalism irrevocably heading towards their “cul-de-sac” of subsequent economic crises, attempts to overthrow regimes and governments, recessions and repressions, as well as the First World War and the October Revolution – became a “cradle” of a whole new transnational generation of artists and intellectuals. This generation reached their maturity and became aware of their aspirations s i n a and working methodologies through m k disillusionment, crises, and frustration, gaining a n i r voice that they made heard during the Golden B s i Twenties and early 1930s in geographically r d n different contexts, maintaining certain inter- A Ê contamination between their distinct traits. 0 2 0 Notwithstanding the obvious cultural and 2 e political disparities, members of this new n u j generation, as Susan Buck-Morss put it, — 0 a 1 j 1 s experienced “the fashions of the most # A l n recent past as the most thorough anti- a o n i r t aphrodisiac that can be imagined.” But u a l o l j e precisely this was what made them t x s u l n f “politically vital,” so that “the confrontation o - e C with the fashions of the past generation is an affair of much greater meaning than has been supposed.”1 These sometimes irreconcilable avant-garde groupings became radicalized through a shared traumatic experience which taught them “that the phantasmagoria of progress had been a staged spectacle and not reality.”2 Politically 12.22.20 / 10:41:59 EST A cover of Walter Benjamin's book One Way Street featuring a photomontage by Sasha Stone.Ê Ê 12.22.20 / 10:41:59 EST 03/20 Demonstrators with Stem Masks, Leningrad, May 1, 1924. On the left side of the mask, the slogan: "I'm buying from a private seller," on the right: "I consume cooperative goods," Krasnaya Gazeta, May 2, 1925. Collection of the author.Ê 12.22.20 / 10:41:59 EST disillusioned and misrepresented, these orphans Lācis, Bernhard Reich, Anatoly of failed modernist aspirations were thirsty to Lunacharsky, Sergei Tretyakov, and Sergei fuse art, life, and politics in order to shatter the Eisenstein. German artists and old bourgeois ways and forms of life once and for intellectuals (such as Brecht, Piscator, all in favor of something yet to come, a new world Toller, Becher, Huppert, and Benjamin) in they strove to erect on the ruins of the preceding their turn travelled to the Soviet Union in one. As Jean-Michel Palmier states in his order to experience for themselves the “Weimar in Exile,” 04/20 tenor of art and life in what was heralded as a new and more humane society.5 Communists, Socialists, pacifists, republicans, liberals and non-partisan If initially the lines of advocates of “left-wing writers, these intellectuals embodied culture” and “cultural Bolshevism,” for whom art throughout the 1920s an aspiration “was the most powerful weapon for Organizing to­wards liberty, a critical and moral collective forces,”6 were fit, only a few of them conscience that was almost unique É They followed this One-Way Street till the end, without were also perhaps the last generation of taking side turns. intellectuals to believe in the power of the ÊÊÊÊÊÊÊÊÊÊThe traces of this generation remain word over history.3 disturbing to any dominant order, sometimes even to their former peers and friends. Their true The time-space coordinates of the territory of agendas, aspirations, and dreams, however their interventions spanned from Weimar silenced or put on hold, continue resurfacing Germany to the newfound Soviet state in Russia, amidst historical readjustments. Their most covering the entirety of Europe along the way. As intimate convictions were never fully bent, not Leon Trotsky wrote in his My Life: An Attempt at even by the most sadistic of repressions inflicted an Autobiography (recalling the year 1908), on them. A unique invisible thread links the disparate trajectories of intervention of these For us Russians, the German Social last protagonists on the shared stage of the Democracy was mother, teacher and living short century. example. We idealized it from a distance É ÊÊÊÊÊÊÊÊÊÊSo, how can we navigate through such a in spite of my disturbing theoretical complex historical archipelago without breaking premonitions about the German Social on its network of underwater rocks? In his Berlin Democracy, already mentioned, at that Chronicle, Walter Benjamin proposes drawing a period I was undeniably under its spell.4 diagram or a “psychogeographic” map: The same can be said about the new generations I was struck by the idea of drawing a of German and European intellectuals, who, from diagram of my life É I have never since s i n the 1920s onwards, fell completely under the a been able to restore it as it arose before me m spell of the October Revolution in Russia and its k then, resembling a series of family trees. n i cultural protagonists and advocates. r Now, however, reconstructing its outline in B s ÊÊÊÊÊÊÊÊÊÊThe so-called “Russian Berlin” was a vivid i thought without directly reproducing it, I r d reality until the mid-twenties, similar to how n would instead speak of a labyrinth É It was A Ê Moscow was home to German, Latvian, and other on this very afternoon that my biographical 0 2 émigré diasporas with their magazines, theaters, 0 relationships to people, my friendships and 2 and publishing houses until the late 1930s. e comradeships, my passions and love n u j Cultural exchange was booming. The great affairs, were revealed to me in their most — impact that the October Revolution, as the first vivid and hidden intertwinings.7 0 a 1 j 1 model of a socialist revolution, had on s # A l intellectuals in Europe (and in particular those in n Let us apply a similar method to outline the a o n i r Germany) was a fact which Stalinist politics t contours of a constellation of one such radical u a l o l j speculated on extensively. The Revolution’s e avant-garde grouping, by following the traces of t x s u l n universal prestige started to bend only towards f its central female emissary, Asja Lācis. Her o - the end of the 1930s, coinciding with the e C pedagogical, theater, and theoretical work, Moscow trials and the Molotov–Ribbentrop pact however misrecognized and subjugated, together (1939): with an account of her life and the vivid intellectual cross-pollination she was able to set Kameny Theater, Vakhtangov Theater, Blue in motion, remains one of the most fascinating Blouse, and the Meyerhold troupe forgotten pages of cultural history of the exemplify the relatively free passage of twentieth century. By no surprise, it echoed dramatic art from Russia to the West. strongly with the anti-authoritarian aspirations Among the willing emissaries were Anna of the post-1968 generation, and to the present 12.22.20 / 10:41:59 EST day its emancipating potential has not dispersed dormant in her work and deserve to be its charge. rediscovered. ÊÊÊÊÊÊÊÊÊÊGiven her centrality to this history, why do we know so little about Asja Lācis? Why has her Scene 1: Asja, Engineer of the Avant-Garde name emerged mainly through the already fully One-Way Street (Einbahnstra§e), a collection of assimilated histories of her male colleagues? essays by Walter Benjamin (his literary montage How and when did such a deliberate in line with constructivist ideas), reached marginalization, trivialization, and patriarchal 05/20 bookshops in Berlin in 1928. Its title was a disqualification of Lācis occur? And what could radical declaration of intent and its opening page be the routes or methodologies for redistributing contained a cryptic dedication: “This street is the respect, authority, and representability she named Asja Lācis Street, after her who as an deserves and for reassessing her role on the engineer cut it through the author.”8 stage of early twentieth-century history from a ÊÊÊÊÊÊÊÊÊÊThe “engineer” in question was Anna Lāce new perspective? Benjamin’s notion of a (born Liepiņa, 1891–1979) – internationally dialectical image and the Brechtian method of known as Asja Lācis – a Latvian theater director, epic theater are both of great importance and actress, and revolutionary theorist. Not only this will be used here as methodological references. – she was also a playwright, pedagogue, and a ÊÊÊÊÊÊÊÊÊÊThe following fractured and semi-theatrical feminist ante litteram who went on to become montage will attempt to restage the complex the protagonist, the intermediary, and the trait story of Asja Lācis and a group of figures linked d’union between the German, Latvian, and to her. The staging will be narrated in eleven Russian avant-garde cultures. interconnected acts, without any pretense of ÊÊÊÊÊÊÊÊÊÊFollowing the labyrinthine topography of her arriving at an exhaustive synthesis. On the life, a map emerges that leads to virtually all the contrary, through its freeze-frames, gaps, and early twentieth-century focal points of cultural asynchronies, a new type of interpretation that is innovation in Europe: from Riga to Berlin, strongly intertwined with the present situation Munich, Naples, Rome, Vienna, Paris, St.
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