Date

2019-07-01

Author

Pamir Dietrich, Ayşe

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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.

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https://www.ijors.net/issue8_2_2019/reviews/a_dietrich.html
https://hdl.handle.net/11511/102423

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Graduate School of Social Sciences, Article