The Russian Revolution/Chapter 25
XXIV.
A BOLSHEVIK VARIETY SHOW.
One of the most striking features of the Russian revolution is the extraordinary vigor being shown by the theatre. Although industry in general is lagging and languishing, the theatrical profession flourishes as never before. Wherever one turns there are operas, ballets, plays, concerts, etc. And their quality is superb, for the Russians are natural artists. New York and London, notwithstanding all their wealth and prosperity, are not now enjoying such high grade theatrical performances as are being offered nightly to the revolutionary workers of Moscow.
The Communists are keenly aware of the educational value of the theatre—it is significant that in the new scheme of social organization they have placed it under the jurisdiction of the Department of Education—and they are losing no opportunity of using it to popularize the revolutionary point of view. Recently I saw a real Communist performance at the famous "Terevsat,"[1] which will serve to indicate one type of this branch of educational work.
The evening’s spectacle was a real variety show, consisting of several sketches. The first was a three-act comedy-drama portraying the winning of a home to the revolution. The point of the play, besides offering the workers a splendid entertainment, was to indicate many of the evils the new society has to contend with—sabotage, thievery, laziness, etc.—and to emphasize the need for loyal citizens and efficient workers in the industries. The "hero" of the play was a young Communist, and the "villain" a stupid, capitalistic-minded worker who stood at the head of the house. There were comedians, workers, villagers, etc., galore.
In the first act the "villain," a militant blockhead, took occasion to express his opinions about the Soviet Government and the new order of society in general. He voiced every objection to Communism that one finds current among the people, and this with vigor. These attacks provoked elaborate answers from the Communist members of his household, among whom was the young Communist "hero," his brother-in-law. The latter met his arguments one by one, outlining in his talks the real meaning of the Government's policies and the general conception of Communism. This he did so skillfully that the "villain" was intellectually routed, to the glee of the audience.
The scene of the second act was a machine shop. There were a number of workers at work, the "hero" and "villain" among them. The latter spent his time idling about and wasting the other men's time arguing with them over the sins of the Soviets. Finally he was caught stealing a number of newly-made tin buckets. This brought down upon his head a lecture about the cardinal crime of stealing from the workers' republic.
The climax came in the third act. The "villain's" wife, tired of his unsocial conduct, decided to leave him. She packed up her clothes and, taking the baby, prepared to depart. He objected violently to this, claiming ownership over her as in the old days. But all he achieved was a new discourse from his Communist brother-in-law on the rights of women under the workers' regime. Finally the "villain," defeated at every point, capitulated and declared that henceforth he would do his part in building the new society. The worker audience were delighted and sat through the playlet with rapt attention. In the characters portrayed and the plot of the piece they saw their own life depicted. There could be no doubt but that the lessons intended sank into their minds.
The next part of the program was a humorous encounter between a Bolshevik woman and a slacker man. They found themselves met on a bench in the park, and when she chided him for not being at work he replied with with an individualistic argument about how he intended to get along as easy as he could, etc. Then the repartee began. Jokes for and against Soviet society flew back and forth, with the woman always getting the better of it. Finally they gave up their intellectual duel and wound up the act by a dancing contest. This team made a special hit with the crowd.
Then followed a curious act called "The Soviet Postman." A letter-carrier, placed upon a raised platform, was supposed to read us the letters he found in his mail. The reading, however, was really a series of recitations by players, of appropriate types, who appeared at an opening in the platform. The good worker, the slacker, the aristocrat, the Red Army officer, the peasant, the Communist, the speculator, the counter-revolutionist, the expropriated capitalist—all the elements of modern Russian society were there, each voicing his criticisms, praises, or aspirations for the new society. Many were the laughs that were had, especially at the plaints of representatives of the old regime. And in the midst of the laughs were inserted more than one lesson that the Communists wanted the masses to learn.
After "The Soviet Postman" there was some excellent singing, first a charming folk song, and then a special rendering of "The Marseillaise" in honor of the Paris Commune. The whole was done in the artistic fashion characteristic of the Russians.
The next act was a real gem. It depicted an awkward squad being drilled by a martinet of the old-time Czar's army. The scene was a barracks drill hall, upon one wall of which hung a forlorn portrait of Nicholas II, The soldiers were attired in Czarist uniforms, and the officer was a true type of the old Russian petty military tyrant. He brutalized the men through the drill, savagely kicking one, a student, who dared to protest at his harsh treatment. There was no positive propaganda, It was just a picture taken from the old regime, which the workers were left to compare with conditions in the Red Army. But the effect was more powerful than endless moralizing would have been.
The last act on the program we Americans voted the best; for it was a pantomime. It was a sort of historical dance, entitled "The Scales," portraying the struggles of revolutionary Russia against her many foes. No words were spoken except the names of the characters as they appeared upon the stage.
The playlet opened up with a prologue in which a dark figure, typifying the old regime and very active later on as Counter Revolution, was driven away by Time. Then the curtain went up upon the main scene. An enormous scales occupied a large part of the stage. On one side of it was a man, Kerensky, and on the opposite side another, Capitalism. Between the two a struggle raged, each one striving to pull down his side of the scales. A beautiful girl attired all in red, Russia, watched the battle with interest. But Kerensky lost, and Russia drove him from her. He immediately went over and joined Capitalism on the other side of the scales. Thereupon a handsome young man, Communism, appeared upon the scene. He at once won favor with Russia, joined her on the scales and sent Capitalism's and Kerensky's side of the beam in the air.
Then began a wonderful dance, participated in by figures representing Skoropadkin, Petlura, Denekin, Kolchak, Wrangel, Yudenich, and all the other prominent counter-revolutionary generals. They entered the dance in the actual order that they took the field against the revolution. There were one, two, or three of them on the stage at a time just as they had been in the field together. Historical accuracy was followed in every detail. The counter-revolutionary dancers whirled about Russia, trying to win her favor. But without avail. One after another they gave it up and abandoned the dance in the order that they were defeated in battle. They, too, took their place on the side of the scales with Capitalism.
Next entered the figures England, France, and United States. Uncle Sam came throwing enormous dollars, which Denekin and others caught and were thus enabled to dance a little longer. In the dance of the Great Powers was portrayed every conference and every other important move that they made in the Russian situation. After they had become weary and taken their place with Capitalism, Poland appeared, playing her warlike part and encouraged by all the enemies of Russia. Then came the Kronstadt revolt, typified by a sailor. At first the sailor was shown to be a victim of the wiles of Counter-Revolution (who was all the while hovering about encouraging his agents), and fawned upon by Capitalism, the White Guard Generals, and the Great Powers. Finally, however, he went over and joined Russia on her side of the scales. For a time, with so many opponents, Communism seemed about to lose, his side of the scales began to go up. But by heaping books and papers upon it (education of the people) it was sent down again and Russia's many enemies were defeated.
The last figure to appear was a black man. The Orient. A great struggle occurred over him. All the counter-revolutionary elements made desperate efforts to win him to their side. His will was to join with Russia, and he fought hard to do so, but the others finally dragged him with them. And thus ended this remarkable historical pantomime.
The whole performance lasted four solid hours, from seven until eleven, "Lenin's time,"[2] and the worker audience enjoyed every minute of it. The theatre was but half-lighted (because of the fuel shortage) and the workers half-hungry (because of the food shortage), but the show "went" big. Although the whole thing was only "propaganda" the capacity crowd devoured it. The Russians who were with us rather deprecated the acting, calling it second class. As for me, I thought it splendid. But then, coming as I did from barbarous, uncultured America and being educated on Broadway theatrical trash, it was only natural for me to mistake Russian second rate actors for stars.
- ↑ "Terevsat" is an abbreviation of "Theatre of Revolutionary Satire." Many similar "words" have been produced by the revolution. Usually they stand for the new institutions; such as, "Comintern" (Communist International), "Sovnarcom" (Council of Peoples' Commissars), etc.
- ↑ In Russia the irreverent say that there are two times: Standard, or God's time, and Daylight Saving, or Lenin's Time. And they also say that as Lenin is the bigger man of the two in Russia his is the time that is followed. It is three hours ahead of Standard time.