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107:, which was a satire that openly mocked the government. As a result, Stalin labeled the Kamerny 'a real bourgeois theater'. Thereafter, the theater had need to reform their presentation. The Soviet authorities developed a deep distrust of Tairov, calling him the last representative of the "bourgeois aestheticism".
40:(1885–1950). Over the next 35 years, this small, intimate theater became "recognized as a major force in Russian theater". Considered among the better presentations staged at the theater were:
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by remaining unpolitical, instead adopting a post-revolutionary romantic idealism and relying heavily on classical material from the east and west. However, in 1928, the
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in 1946. The same year the Soviet communist party "condemned all formalism and experimentation in literature and the arts". The
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Cornwell, Neil; Christian, Nicole (1998). "Post-Revolutionary
Russian Theater".
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Mitter, Shomit; Shevtsova, Maria (2005). "Alexander Tairov (1885–1950)".
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156:. Performance studies (4th ed.). Psychology Press. pp. 31–34.
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Modernism's
History: A Study in Twentieth Century Art and Ideas
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Roose-Evans, James (1989). "Taïrov and the
Synthetic Theater".
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In 1937, the
Realistic Theater was merged with the Kamerny. In
80:(1933). Tairov's primary collaborator in building the sets was
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183:. Fifty Key Thinkers Series. Psychology Press. p. 37.
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The
Chekhov theatre: a century of the plays in performance
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For three decades the theater survived the effects of the
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268:. Intellect Books. p. 124.
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208:The Cambridge guide to theatre
36:, founded in 1914 by director
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386:in Kamerny Theatre (Moscow)"
292:A history of Russian theatre
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319:Senelick, Laurence (2000).
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390:Didaskalia
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