SOVIETISED DRAMA

Greymouth Evening Star, 9 November 1931, Page 7

SOVIETISED DRAMA

INDUSTRY PLAYS THE LEAD. Under the Soviet, rule in Russia even the theatre is being made to contribute to the purposes of the Five-Year Plan. Industrialisation of the country is now the main topic of Russian drama. One of the leading exponents of the modern school of Soviet dramatists was asked whether it was possible to find dramatic material in the workshops. "Is there,” he was asked, "a dramatic climax in the industrialised play?” The expert replied by taking as au example the play "Tempo,” by Pogodin. now being played at the Vakhtangox Theatre. “The dynamics of the play,” he said, “is determined by the collision of different human formations.” "Is there a hero?” “The advanced industrial workers headed by the enthusiastic director, who is, ol' course, an oid member of the Bolshevist party and a son of the working-class, play the leading role in this drama. "Role?”

“Mass role,” was the explanation. "You sec, there arc two groups or masses of workeis in the play. The main mass are seasonal building worker;-, who have come from the villages. Their political and cultural level is much below that of the industrial V orl-f-rs. They show a reactionary tendency towards the old things—th • less disturbing. Hie more familiar forms of dormant, village life. But Hie industrial worker mass does not yield! ” “What, do they do about it?” “By persuasion, example and persi •- t; nee they carry away the mass of seasonal building workers, entirely changing their psychology in the very process of the work of construction.” "Docs anything—happen ?” “The chief engineer commits suicide,” the dramatic expert conceded “Construction triumphs!” "How?” “The psychology of Hie seasonal workers is entirely changed! To a certain degree even Ihe American ci; ginecr is carried away by the colossal sweep and enthusiasm of Hie workers! ” “Then there is the drama, ‘Poem of the Axe,’ at the Theatre of the Revohit ion—by the same author,” went on die interpreter of this new dranriturgy. "11 depicts Ihe process of invention by a simple worker —a steel smelter —of a new alloyage of steel which never rusts. During the lasi scene a piece of steel is shown to the members of the audience, who touch it; with their own hands. This feature entirely effaces the margin be i ween the stage and the spectators. “Then there is “The Firing Line,’ by Nikitin, dealing with economics; 'Grain.’ by Kirshon, depicting grain tollectious by Hie Proletarian State: SlHne Stars!’ by Mikitenko, treating of the problem of creating new cadre-; •'f workers. The new mass art deals with the building of electric power stations, works, shipyards and so forth. “Admiration, almost worship, before the dynamics of the depicted construction is the main emotion which surges through all these great plays.”