Pierrot Dreaming to Become the Harlequin: Young Meyerhold on a stage of theater, poetry and history
The heart of the article, «Pierrot dreaming to become the Harlequin», is a hypothetical plot about the «rebounding» novel by young actor and director Vsevolod Meyerhold on a stage of theater, poetry and history during his first years of service in Moscow Art Theatre, 1900-1902-1904, time of his self-determination in art. This was the beginning of Meyerhold’s way to his new creative breaks. During this period Meyerhold endures, imagined by himself, the «theatrical affair», with the lady who does not know about his feeling, - as the most real and most shrill vital plot. During this period his creative split and a gap with his great teachers - Stanislavsky and Nemirovich-Danchenko is growing ripe. And this period connects extraordinary closely Meyerhold and Anton Pavlovich Chekhovб who becomes the spiritual mentor of Meyerhold. This period is connected with formation of Meyerhold’s poetic interests, evolution of his poetic priorities, conjugation of poetry and director's creativity, poetry and theater in its aesthetic searches, that was not till this moment a subject of reviewing by researchers. In the offered article the author undertakes preliminary setting of this problem important for understanding of the creative person of Meyerhold - the actor, director, interpreter of artistic texts during the crisis period of his creativity. From the first «house» interest in Apukhtin and Nadson’s poetry, Meyerhold moves to understand lyrics of K. Balmont, Charles Baudelaire (in Balmont's translation), Bryusov, Paul Faure. In the beginning of the century plastic fractures are innovative not only in painting, but also in new theatrical forms, in style and architectonics of works of art and literatures, in broken prose, in practice of a verse, in poetic strophics. So discontinuity and discretization of the becoming effective disastrous 20th century declared. Ahead - (to these problems the second part of the work will be devoted) there is the poetic Renaissance of the Silver Age - creative meetings and Meyerhold's refractions with Glazunov, Scriabin, Shostakovich's music, Golovin and Sudeykin's painting, Fiodor Sologub, Andrey Bely, Vyacheslav Ivanov, Mikhail Kuzmin, Nikolai Gumiliov, Boris Pasternak, Vladimir Mayakovsky's works, poets of a wide modernist range - the symbolists, futurists, acmeists, theatrical painters, composers who influenced Meyerhold’s theatrical creativity.