You Pretend to Censor Us and We Pretend to Comply: Staging Ionesco's Rhinoceros at the Theater-Studio of Southwest Moscow
Susan
Costanzo
This paper addresses the typically overlooked relationship between
local cultural organizations, such as the Theater-Studio of Southwest
Moscow (Na Jugo-zapade), and their interactions with local
governmental and party organizations. Other studies focus on prominent
theaters, such as the Taganka, and their efforts to expand the bounds
of expression prior to 1985. But the difficulties of the most
problematic theaters do not provide a model for all theaters. Smaller,
less visible theaters, such as Na Jugo-zapade, developed mutually
beneficial relations with their neighborhood government and party
organizations. I will address this issue by focusing on Na
Jugo-Zapade's production of Eugene Ionesco's Rhinoceros.
Using archival documents, documents from Na Jugo-Zapade, and an
interview with Valerij Beljakovi&chachek;, the director, the paper
will provide background on the theater and the production as well as
the evolution of the relationship between the theater and its
monitoring organizations up to 1983. When the theater was reprimanded
by the Union Ministry of Culture for performing this banned text in
1983, neighborhood officials attempted to shield the theater from
repercussions. In fact, the local leaders knew of the performances and
at least tacitly allowed them prior to the Ministry of Culture's
edict. Their actions refute the assumption that lower level political
organizations obediently followed the lead of central organs; instead
they knowingly participated in the expansion of freedom of expression
prior to glasnost.