ISSN: 2158-7051 ==================== INTERNATIONAL JOURNAL OF RUSSIAN STUDIES ==================== ISSUE NO. 8 ( 2019/2 ) |
APRIL IN PARIS THEATRICALITY, MODERNISM, AND POLITICS AT THE 1925 ART DECO EXPO, By Ayse Dietrich*,
Published by: University of Toronto Press. Written by Irena
R. Makaryk, Year of Publishing: 2018. Subject
Area: Art history Book Type: Art history. Total Number of Pages: 298. ISBN:
9781487503727, $60.15 (Hardcover).
The
book examines the Paris Exposition internationale
des arts décoratifs et industriels
modernes, its theatricalization,
the symbolic importance of the exhibition, the Soviet understanding of the
place of arts, theater arts, Soviet achievements in theater arts, the transfer
of Paris theater arts to New York, and the impact of the Paris Exposition in
general.
In
the Introduction the author discusses the notable aspects of this Exposition,
mainly, that is was the only Exposition intended to create a new and
distinctive style by embracing a significant, organic part of an international
exhibition, offering the Soviets a chance to appear on the world stage for the first
time, displaying to a broad spectrum of the public a revolution not only in the
use of theater space but also in the whole conception of space.
The
book consists of seven chapters. Chapter 1, “Theatricalizing the City: Space, Modernism, and the Paris Expo” examines
the preparation of the exposition, the new image of the city, the new concepts
of display and its relation to modernity, and the Soviets’ perception of
displaying art, space, life and industry which was intended to show the
creation of a new society.
Chapter
2, “April in Paris 1925: Staging the New Spirit”, discusses how the exhibition
was used to demonstrate France’s recovery from the effects of the First World
War by presenting a revolution in art and design that embodied a new style and
spirit to the world.
Chapter
3, “Conquering Space: The Soviets in Paris”, investigates how the Soviets
prepared for the Exposition, and their view of the role of the arts in trade,
diplomacy and propaganda. The chapter also discusses the challenges faced by
the Soviets by displaying not the traditional craftsmanship
presented by other participating countries, but only the new, and of linking
art to industry. The Soviets’ intention was to show the world that under the
communist regime Russian civilization was far from perishing, and “provided the
Soviets a potent forum demonstrating to the West that socialism was not mere
ideology but its precepts have concrete and practical application”.
Chapter
4, “Great Expectations: Space and
Theatre Arts”, deals with the expo’s organizers of the Theater Arts and
their approaches to creating a model theater and display of theater arts. The
author states that the Soviets strategically prepared displays for the exhibition
and which had a potent impact on visitors to the Exposition
Chapter
5, “Trial by Space: Incarnating the
Revolution”, examines Soviet theater arts in general, their reception by
the public as well as their achievements. The author argues here that the
diverse uses, concepts and representations of space on display at the Paris
Exposition inspired intense debate on societal concepts and ideologies
Chapter
6, “Battling Traditional Space:
Bringing Modernism from Paris to New York”, discusses the transfer of
the arts exhibits to New York as part of the International Theatre Exposition
and the important consequences of the Paris theater arts exhibits.
Chapter
7, “Transformative Space: Into the
Future”, gives an assessment of the impact and the effectiveness of the
Paris exhibition, and what the Soviets contributed to the international scene.
This
book would be of particular interest for researchers investigating the general
topics of arts and exhibitions, and the role of international fairs in
presenting new concepts in art and design to a world audience. In addition, for
scholars of Soviet history this book provides detailed information on the
topics of the Soviet Union’s self image and how it
tried to depict itself to the outside world in its first decade of existence,
as well as the early Soviets’ attitudes on the role of the arts in promoting
their country.
*Ayse Dietrich - Professor, Part-time, at Middle East Technical University, Department of History, and Eurasian Studies. Editor and the founder of the International Journal of Russian Studies e-mail: editor@ijors.net, dayse@metu.edu.tr, dietrichayse@yahoo.com
© 2010, IJORS - INTERNATIONAL JOURNAL OF RUSSIAN STUDIES