Theater of the Revolution

The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Theater of the Revolution


one of the first Soviet drama theaters. Opened in Moscow on Oct. 29, 1922, the theater was created as a result of the merging of the Terevsat (Theater of Revolutionary Satire) with a number of other theaters. From 1922 to 1924 it was headed by V. E. Meyerhold, who produced Toller’s The Machine-wreckers and Man and the Masses, Os-trovskii’s A Profitable Post, and Faiko’s Lake Liul’. The theater’s principal directors later included V. M. Bebutov, A. L. Gripich, A. D. Popov (who from 1930 to 1935 played an important role in the theater’s development), and N. V. Petrov. Plays were also staged by Iu. A. Zavadskii, A. M. Lobanov, and A. D. Dikii.

The theater’s leading actors included M. I. Babanova, M. F. Astangov, Iu. S. Glizer, M. M. Shtraukh, D. N. Orlov, and S. A. Martinson. Major plays staged by the theater included Faiko’s The Man With the Portfolio (1928), Pogodin’s Poem of the Axe (1931), My Friend (1932), and After the Ball (1934), Shakespeare’s Romeo and Juliet (1935), Arbuzov’s Tania (1939), and Voitekhov and Lench’s Pavel Grekov (1938). In 1937, V. I. Lenin was portrayed there for the first time in any theater by M. M. Shtraukh in N. V. Petrov’s staging of Korneichuk’s Truth.

From 1941 to 1943 most of the theater’s company played in Tashkent. In 1943, after returning to Moscow, it merged with a theater company that had used its facilities during the war, using the name Moscow Theater of Drama. The combined company was called the Moscow Theater of Drama until 1954, when it was renamed the Moscow Mayakovsky Theater. N. P. Okhlopkov headed the theater from 1943 to 1966.

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
It is not so long ago that the theater of the Revolution was largely ignored, when it was not openly mocked as poorly written propaganda.
In doing so, Feilla challenges an accepted narrative about the theater of the Revolution, which states that portrayals of love and familial devotion increasingly lost favor to displays of male heroism and patriotism.
The first chapter, 'The Theater of the Revolution', deals with the language and conventions of Revolutionary theatricality.

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