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Shakespeare in the Undiscovered Bourn

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Shakespeare in the Undiscovered Bourn SHAKESPEARE IN THE UNDISCOVERED BOURN LES KURBAS, UKRAINIAN MODERNISM, AND EARLY SOVIET CULTURAL POLITICS TT Irena R. Makaryk Shakespeare in the Undiscovered Bourn LES KURBAS, UKRAINIAN MODERNISM, AND EARLY SOVIET CULTURAL POLITICS UNIVERSITY OF TORONTO PRESS Toronto Buffalo London www.utppublishing.com © University of Toronto Press Incorporated 200 Toronto Buffalo London Printed in Canada ISBN 0-8020-8849-X Printed on acid-free paper National Library of Canada Cataloguing in Publication Makaryk, Irena R. (Irena Rima), 1951- Shakespeare in the undiscovered bourn : Les Kurbas, Ukrainian modernism and early Soviet cultural politics / Irena R. Makaryk. Includes bibliographical references and index. ISBN 0-8020-8849-X 1. Kurbas, Les', 1887-1937 — Criticism and interpretation. 2. Shakespeare, William, 1564—1616 - Stage history — Ukraine. 3. Theater — Ukraine — History - 20th century. 4. Theater and society - Ukraine - History - 20th century. 5. Theater - Political aspects - Ukraine — History - 20th century. 6. Theater and society - Soviet Union — History — 20th century. 7. Theater - Political aspects - Soviet Union - History - 20th century. I. Title. PN2859.U476K87 2004 792'.09477'0904l C2003-906788-2 University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council. This book has been published with the help of a grant from the Canadian Federation for the Humanities and Social Sciences, through the Aid to Scholarly Publications Programme, using funds provided by the Social Sciences and Humanities Research Council of Canada. University of Toronto Press acknowledges the financial support for its publishing activities of the Government of Canada through the Book Publishing Industry Development Program (BPIDP). The undiscover'd country, from whose bourn No traveller returns (Hamlet 3.1.79) Ukraina: (\) 'borderland' from the Indo-European '[s]krei — to cut' (2) 'minor territorial unit' (3) 'country,' 'land,' 'state' Ukraine: A Concise Encyclopedia 6 Bourn: limit, confine, boundary (Schmidt, Shakespeare Lexicon) This is pioneering in the thickets of the future, in a country as yet unknown to anyone; this is a peep behind the curtain of the art of'tomorrow.' (Volodymyr Yaroshenko, 'Pionery') This page intentionally left blank Contents Illustrations ix Acknowledgments xiii Permissions xvii A Note on Transcription, Transliteration, and Archival Sources xix Prelude 3 1 Ex Nihilo: The Classics, Wars, and Revolutions 9 2 Tilting at Da Vinci: Kurbas's W± Macbeth 65 3 'Authentic' Shakespeare: Saksahansky's Othello 113 4 Toward Socialist Realism: Hnat Yura's A Midsummer Night's Dream 144 5 Coda: The 'Tractor of the Revolution' and 'Vanya Shakespeare' 177 Appendix 205 Notes 209 Works Cited 221 Index 241 This page intentionally left blank Illustrations Abbreviations BNA Bronislava Nijinska Archives. Private archives. With the permission of Gibbs Raetz. Pacific Palisades, California. Now in the Library of Congress. HA Volodymyr Hrycyn/Yosyp Hirniak Archives, New York, New York. Courtesy of Virlana Tkacz IM Photo by Irena Makaryk M Rpt. from Mikhail Morozov, Shekspir na stsene (1939) Nf Newspaper fonds, Academy of Sciences, Kyiv QMS Rpt. from Oliver Martin Sayler, ed., Max Reinhardt and His Theatre (1926) SMTMCA State Museum of Theatre, Music, and Cinematographic Arts (Kyiv) STM The Shevchenko Theatre Museum (Kharkiv), formerly Berezil Theatre Les Kurbas circa 1919. (HA) Frontispiece LesKurbasin 1908. (HA) 18 Poster advertising the first Shakespearean production on the Ukrainian stage, Macbeth, 20 August 1920 at the 'Palace' Theatre. (STM) 46 I. Kulyk's drawing of Liubov Hakkebush as Lady Macbeth in the 1920 production of Macbeth. (SMTMCA 2611) 49 Vadym Meller's painting of Bronislava Nijinska, Mephisto, also known as Mephisto Valse, Kyiv, 1919. (BNA) 50 Vadym Meller's painting of Bronislava Nijinska, Fear, also known as Fire. (BNA) Following 51 x Illustrations Bronislava Nijinska in Papillon costume, 1921. (BNA) 59 Bronislava Nijinska in Papillon costume, 1921. (BNA) 60 45th Red Army Division 'Volyn,' 'guardians' of the Berezil. (STM) 67 Members of the Berezil Artistic Association, 1922. (STM) 70 Scene from Kurbas's production of Gas, 1923. (HA) 76 Gym exercises at the Berezil, 1922. (STM) 79 Acrobatic exercises at the Berezil. (STM) 80 Murder of Banquo (S. Karahalsky), Macbeth, 1924. (STM) 85 Macbeth (Ivan Marianenko) and Lady Macbeth (Liubov Hakkebush), Macbeth, 1924. (STM) 87 Scene of witches with Macbeth, Macbeth, 1924. (SMTMCA 65287-1) 89 Scene from Macbeth, 1924, Ivan Marianenko as Macbeth. (STM) 91 Scene from Macbeth, 1924. Near Birnham Wood. (STM) 93 Lady Macbeth (Liubov Hakkebush) and Macbeth (Ivan Marianenko) in Macbeth, II.iL, 1924. (SMTMCA 1-15-14) 95 Lady Macbeth (Liubov Hakkebush) in the sleepwalking scene, Macbeth, 1924. (SMTMCA 1-51539) 97 Lady Macbeth (Liubov Hakkebush) in the sleepwalking scene, Macbeth, 1924. (SMTMCA 65307) 98 Amvrosi Buchma as the Fool (Porter) in Macbeth, 1924. (STM) 100 The coronation scene, Act V, in Macbeth, 1924. (STM) 102 Panas Saksahansky, People's Artist of the Republic. (Nf) 115 Othello (Borys Romanytsky). (SMTMCA 22493) 133 Desdemona (Varvara Liubart), 1939? (SMTMCA 22494) 137 lago (Vasyl Yaremenko). (SMTMCA 11631) 139 Emilia (A. Frazenko?) and lago (Vasyl Yaremenko), 1939? (SMTMCA 11633) 140 The Shevchenko Theatre, formerly the Berezil Theatre (Kharkiv). (IM) 156 The Mechanicals in Hnat Yura's A Midsummer Night's Dream, 1927. (Nf) 168 Scene from Hnat Yura's A Midsummer Night's Dream, 1927. (Nf) 168 Scene from Hnat Yura's A Midsummer Night's Dream, 1927. (Nf) 169 Scene from Hnat Yura's A Midsummer Night's Dream, 1927. (Nf) 170 Scene from Hnat Yura's A Midsummer Night's Dream, 1927. (Nf) 170 The Mechanicals in Max Reinhardt's A Midsummer Night's Dream, Neues Theater, 1905. (QMS) 174 The Fairies in Max Reinhardt's A Midsummer Night's Dream. (OMS) 175 The Mechanicals perform at court in Max Reinhardt's A Midsummer Night's Dream, Neues Theater, 1905. (OMS) 175 Scene from Les Kurbas's production of Ivan Mykytenko's Dictatorship. (HA) 184 Illustrations xi Scene from Les Kurbass production of Ivan Mykytenko's Dictatorship. (HA) 185 Scene from Les Kurbass production of Mykola Kulish's Maklena Grasa. (HA) 189 Scene from Les Kurbass production of Mykola Kulish's Maklena Grasa. (HA) 191 Les Kurbas, People's Artist of the Republic, from the cover of Sovremennyi teatr (Contemporary Theatre) (Moscow) 32-33 (1928). (Nf) 194 Solomon Mikhoels as King Lear in the GOSET production, 1935. (M) 196 This page intentionally left blank Acknowledgments The germ of the idea for this book lies in a paper presented a decade ago at the 1994 Shakespeare Association of America seminar 'Nationalist and Intercultural Aspects of Shakespeare Reception' led by Werner Habicht (University of Wurtz- burg). While researching that conference paper (about a 1943 production of Hamlet in Lviv, Ukraine), I came across a few references to the earlier Shakespeare productions of director Les Kurbas, whose 1924 Macbeth was particularly and vehemently damned in Soviet theatre histories. Later, reading further afield, I had the first inklings of what I would soon come to understand: Les Kurbas was one of the great Soviet stage directors of the early twentieth century, on a par with Meyerhold and Tairov, but almost no one in the West seemed to know this. Curi- ous, 1 began to unearth details about this production and its director but found little in English, although a growing body of published work in Ukrainian. (doming to this work as a Shakespearean, not a Slavist, I found the process of researching this topic in Ukraine a revelation, although it is, doubtless, common- place to those who usually work this field. Layers of censorship enveloped often even the most simple of documents. Manuscript material was blue-pencilled for grammar and style, as well as for 'unacceptable ideological tendencies,' and then published with the original assertions elided entirely or replaced with more acceptable variants. Archivists I met were not always willing to unseal supposedly now (post-Soviet) 'open' files or, worse, made my requests unpleasant and lengthy ordeals. Even ten years after the fall of the USSR, the State Museum of Theatre, Music, and Cinematic Arts had not changed the deliberate misinformation of the captioned exhibits to reveal the real date of Kurbas's death (1937, not 1942). Byz- antine complexities of cultural politics, of imperial and postcolonial mentalities, of languages and values remained. I was hooked. But, it was clear that I would also have to read everything that I could in manuscript or original printed ver- sions because subsequently printed sources could not be trusted. xiv Acknowledgments In my travels across Ukraine, I also discovered like-minded scholars whose story of their fascination — even obsession — with the Ukrainian avant-garde closely par- alleled my own. I would like to thank them here for sharing enthusiasms, for dis- cussions, speculations, and suggestions. These are also scholars who formerly had to embark on their work with great caution, since (as this book will show) even Kurbas's name was, until recently, a dangerous commodity: Nelli Korniienko, who now heads the Kurbas Centre in Kyiv; Les Taniuk, director and theatre historian, now a deputy to the Verkhovna Rada (Supreme Council) of Ukraine, who helped smooth the way to some of the archives; theatre historian Natalia lermakova of the M. Ryl's'kyi Institute of Literature,
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