"Vakhtangov and the Russian Theatre" Post production diary update 3.
A sense of real movement in the script of Vakhtangov and the Russian theatre as I move towards the full post production period. After several discussions with Vladislav Ivanov I am starting to see a deeper layer to the film which has not occurred to me before and that revolves around the death of Vakhtangov and its significance. In the years 1920-1922 Vakhtangov was in immense pain and was aware that he was dying from an almost incurable disease and yet he carried on his creative and artistic life to an almost unbearable pitch and tempo, beyond his own human capabilities. Vakhtangov didn't try and draw out the end but rather with ties of life loosening, he strove forwards to the end, practically hastening it with his artistic effort and outpouring.
This almost Shakespearean tragic element to his life can not be underestimated and is a driving force in any account of his life without which his artistic achievements can hardly be understood.
A sense of real movement in the script of Vakhtangov and the Russian theatre as I move towards the full post production period. After several discussions with Vladislav Ivanov I am starting to see a deeper layer to the film which has not occurred to me before and that revolves around the death of Vakhtangov and its significance. In the years 1920-1922 Vakhtangov was in immense pain and was aware that he was dying from an almost incurable disease and yet he carried on his creative and artistic life to an almost unbearable pitch and tempo, beyond his own human capabilities. Vakhtangov didn't try and draw out the end but rather with ties of life loosening, he strove forwards to the end, practically hastening it with his artistic effort and outpouring.
This almost Shakespearean tragic element to his life can not be underestimated and is a driving force in any account of his life without which his artistic achievements can hardly be understood.
3
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