The masks of The Rose and the Cross by Blok in Tsvetaeva’s early plays
Abstract
The article examines the imagery system of Blok’s dramaturgy and its reinterpretation in Tsvetaeva’s first dramatic cycle, Romantics. The main characters in Blok’s first play, The Fairground Booth, are masked figures from the commedia dell’arte: Pierrot, Harlequin, and Columbine. In Blok’s imagery system, these characters lose their traditional traits and acquire fundamentally new ones. From being servant masks (zanni), as they had been for centuries, Pierrot, Harlequin, and Columbine transform into symbols of universal generalization: lyricism (Pierrot), sensuality (Harlequin), and eternal femininity (Columbine). These new masked images become established in the subsequent history of theater and dramaturgy, including in Blok’s later drama The Rose and the Cross and in Tsvetaeva’s “romantic” plays. The presence of Blok’s imagery in Tsvetaeva’s dramaturgy becomes a kind of poetic marker of the introduction of new symbols into the artistic space of the future.
About the Author
D. D. Kumukova
Russian Institute of Arts History
Russian Federation
Russian Federation
Cand.Sci. (Arts), Leading Researcher (Theater Sector)
5, St. Isaac’s square, Saint-Petersburg, 190000
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Review
For citations:
Kumukova D.D. The masks of The Rose and the Cross by Blok in Tsvetaeva’s early plays. Bulletin of Vaganova Ballet Academy. 2025;(3):153-173. (In Russ.)
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