- Hardcover: 256 pages
- Publisher: Yale University Press (3 Oct 2008)
- Language English
- ISBN-10: 030011155X
- ISBN-13: 978-0300111552
- Product Dimensions: 29.4 x 23.1 x 2.4 cm
- Amazon Bestsellers Rank: 1,151,024 in Books (See Top 100 in Books)
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Review
"Chagall's inventive ... murals and poster designs are reproduced here, with archive photos and revealing context." --Artists and Illustrators, 1st February 2009
`...an indispensable volume for anyone seriously interested in twentieth-century theatrical design.'
--Christina Lodder, Burlington Magazine, 1st February 2010
`...an indispensable volume for anyone seriously interested in twentieth-century theatrical design.'
--Christina Lodder, Burlington Magazine, 1st February 2010
Review
"...this beautifully illustrated book, of little known material, gives a powerful sense of the sheer visual and theatrical spectacle..."
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2 reviews
5 of 5 people found the following review helpful
Much more than just another book on Chagall
19 Feb 2009
Format:Hardcover|Amazon Verified Purchase
Far from being just another book on Chagall, this catalogue for a recent exhibition held at the Jewish Museum in NYC is a treasure trove of information, photographs and artworks documenting the intense relationship that the Russian-born Chagall (but not only him) maintained with Habima and Goset (the Moscow State Yiddish Theater), two theater companies that spearheaded a modernist revolution on the Russian and Jewish stages during the years following the 1917 Revolution, Habima being more Zionist-oriented (and eventually emigrating to Palestine) and Goset emphasizing the Expressionnistic side of its theater.
The book tells the story of those two companies, draws a vivid portrait of the main actors (Salomon Mikhoels murdered by Stalin's henchmen in 1948), authors (Dobrushin, Babel, Asch...), artists (Chagall, of course, but also Natan Altman, Robert Falk, Ignaty Nivinsky or Isaac Rabinovich)and musicians (Lev Pulver, Moshe Milner...)who collaborated in all sorts of ways in this unique cultural experience.
The title is slightly misleading as Chagall left Goset in 1922 and the company went on until 1949 with many other artists taking a central role in designing costumes and sets, many of which are beautifully illustrated in never-before-seen images in the book.
This book is also a marvelous document on the Jewish cultural life in Russia during the first half of the XXth century, its relationship to Zionism and Communism and the diversity of the many artists taking part in it.
Highly recommended.
The book tells the story of those two companies, draws a vivid portrait of the main actors (Salomon Mikhoels murdered by Stalin's henchmen in 1948), authors (Dobrushin, Babel, Asch...), artists (Chagall, of course, but also Natan Altman, Robert Falk, Ignaty Nivinsky or Isaac Rabinovich)and musicians (Lev Pulver, Moshe Milner...)who collaborated in all sorts of ways in this unique cultural experience.
The title is slightly misleading as Chagall left Goset in 1922 and the company went on until 1949 with many other artists taking a central role in designing costumes and sets, many of which are beautifully illustrated in never-before-seen images in the book.
This book is also a marvelous document on the Jewish cultural life in Russia during the first half of the XXth century, its relationship to Zionism and Communism and the diversity of the many artists taking part in it.
Highly recommended.
1 of 1 people found the following review helpful
excellent overview of Russian Jewish Theatre
18 Jan 2010
Format:Hardcover|Amazon Verified Purchase
The Moscow State Yiddish Theatre (GOSET) was established in Petrograd in 1919, moving to Moscow the following year. Subsidised by the state, it performed plays in Yiddish, as opposed to the alternative company Habimah who used the Hebrew language. GOSET disintegrated after the murder (ordered by Stalin) in 1948 of the great actor Solomon Mikhoels.
Quoting from the catalogue: "To a large degree the Jewish theatre was influenced by the mass pageants, street performances, Russian circus, cabaret and music -hall burlesque of the early 20th century. Jewish artists absorbed the language of revolutionary art movements in Europe and Russia, notably Cubism, Futurism and Constructivism."
The first section of this catalogue contains informative articles related to GOSET and Habimah. The balance of the book contains illustrations featured in the exhibition; costume designs, posters, costumes plus historic photographs of stage sets, actors and artists.
One of the main centrepieces of the exhibition were the six theatre murals by Chagall. These are attractive works in the typical Chagall style. Using this artist's name in the title of the catalogue is an obvious marketing ploy and somewhat deceptive. Chagall's participation in the exhibition content is relatively minor; in fact Nathan Altman's works are at least equally prominent but his name lacks Chagall's cachet.
Nevertheless, this book gives a fascinating overview of Russian Jewish Theatre
in words and archival illustrations. The book is well printed with excellent quality reproductions.
Quoting from the catalogue: "To a large degree the Jewish theatre was influenced by the mass pageants, street performances, Russian circus, cabaret and music -hall burlesque of the early 20th century. Jewish artists absorbed the language of revolutionary art movements in Europe and Russia, notably Cubism, Futurism and Constructivism."
The first section of this catalogue contains informative articles related to GOSET and Habimah. The balance of the book contains illustrations featured in the exhibition; costume designs, posters, costumes plus historic photographs of stage sets, actors and artists.
One of the main centrepieces of the exhibition were the six theatre murals by Chagall. These are attractive works in the typical Chagall style. Using this artist's name in the title of the catalogue is an obvious marketing ploy and somewhat deceptive. Chagall's participation in the exhibition content is relatively minor; in fact Nathan Altman's works are at least equally prominent but his name lacks Chagall's cachet.
Nevertheless, this book gives a fascinating overview of Russian Jewish Theatre
in words and archival illustrations. The book is well printed with excellent quality reproductions.
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