But when one comes to art directly inspired by Communism it is a different story. Apart from the propaganda pictures already referred to, there are propaganda plays performed by the Red Army in its spare moments, and there are the mass pageant plays performed on State occasions. I had the good fortune to witness one of each kind.
The play was called Zarevo (The Dawn), and was performed on a Saturday night on a small stage in a small hall in an entirely amateur fashion. It represented Russian life just before the revolution. It was intense and tragic and passionately acted. Dramatic talent is not rare in Russia. Almost the only comic relief was provided by the Tsarist police, who made one appearance towards the end, got up like comic military characters in a musical comedy—just as, in medieval miracle plays, the comic character was Satan. The play’s intention was to show a typical Russian working-class family. There were the old father, constantly drunk on vodka, alternately maudlin and scolding; the old mother; two sons, the one a Communist and the other an Anarchist; the wife of the Communist, who did dressmaking; her sister, a prostitute; and a young girl of bourgeois family, also a Communist, involved in a plot with the Communist son, who was of course the hero of the play.
The first act revealed the stern and heroic Communist maintaining his views despite the reproaches of father and mother and the nagging of his wife. It showed also the Anarchist brother (as might be expected from the Bolshevik hostility to Anarchism) as an unruly, lazy, ne’er-do-well, with a passionate love for Sonia, the young bourgeoise, which was likely to become dangerous if not returned. She, on the other hand, obviously preferred the Communist. It was clear that he returned her love, but it was not quite clear that he would wish the relation to be anything more than platonic comradeship in the service of their common ideal. An unsuccessful strike, bringing want and danger from the police, together with increasing jealousy on the part of the Anarchist, led up to the tragic dénouement. I was not quite definite as to how this was brought about. All violent action was performed off the stage, and this made the plot at times difficult to follow. But it seemed that the Anarchist in a jealous rage forged a letter from his brother to bring Sonia to a rendezvous, and there murdered her, at the same time betraying his brother to the police. When the latter came to effect his arrest, and accuse him also, as the most likely person, of the murder, the Anarchist was seized with remorse and confessed. Both were therefore led away together. Once the plot is sketched, the play calls for no comment. It had not great merit, though it is unwise to hazard a judgment on a play whose dialogue was not fully interpreted, but it was certainly real, and the link between audience and performers was established as it never seemed to be in the professional theatre. After the performance, the floor was cleared for dancing, and the audience were in a mood of thorough enjoyment.
The pageant of the “World Commune,” which was performed at the opening of the Third International Congress in Petrograd, was a still more important and significant phenomenon. I do not suppose that anything of the kind has been staged since the days of the medieval mystery plays. It was, in fact, a mystery play designed by the High Priests of the Communist faith to instruct the people. It was played on the steps of an immense white building that was once the Stock Exchange, a building with a classical colonnade on three sides of it, with a vast flight of steps in front, that did not extend the whole width of the building but left at each side a platform that was level with the floor of the colonnade. In front of this building a wide road ran from a bridge over one arm of the river to a bridge over the other, so that the stretches of water and sky on either side seemed to the eye of imagination like the painted wings of a gigantic stage. Two battered red columns of fantastic design, that were once light towers to guide ships, stood on either side midway between the extremities of the building and the water, but on the opposite side of the road. These two towers were beflagged and illuminated and carried the limelight, and between and behind them was gathered a densely packed audience of forty or fifty thousand people. The play began at sundown, while the sky was still red away to the right and the palaces on the far bank to the left still aglow with the setting sun, and it continued under the magic of the darkening sky. At first the beauty and grandeur of the setting drew the attention away from the performers, but gradually one became aware that on the platform before the columns kings and queens and courtiers in sumptuous conventional robes, and attended by soldiers, were conversing in dumb show with one another. A few climbed the steps of a small wooden platform that was set up in the middle, and one indicated by a lifted hand that here should be built a monument to the power of capitalism over the earth. All gave signs of delight. Sentimental music was heard, and the gay company fell to waltzing away the hours. Meanwhile, from below on the road level, there streamed out of the darkness on either side of the building and up the half-lit steps, their fetters ringing in harmony with the music, the enslaved and toiling masses coming in response to command to build the monument for their masters. It is impossible to describe the exquisite beauty of
