{"version":"1.0","provider_name":"Arta politica","provider_url":"https:\/\/artapolitica.ro\/gazetapolitica\/en","author_name":"Gazeta de Art\u0103 Politic\u0103","author_url":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/author\/gazeta-de-arta-politica\/","title":"Theatre As Labor and the Theatrical Worker - Arta politica","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"mAelmV2wkG\"><a href=\"https:\/\/artapolitica.ro\/gazetapolitica\/en\/2013\/05\/27\/teatrul-ca-munca-si-muncitorul-de-teatru\/\">Theatre As Labor and the Theatrical Worker<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/artapolitica.ro\/gazetapolitica\/en\/2013\/05\/27\/teatrul-ca-munca-si-muncitorul-de-teatru\/embed\/#?secret=mAelmV2wkG\" width=\"600\" height=\"338\" title=\"&#8220;Theatre As Labor and the Theatrical Worker&#8221; &#8212; Arta politica\" data-secret=\"mAelmV2wkG\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/*! This file is auto-generated *\/\n!function(c,d){\"use strict\";var e=!1,o=!1;if(d.querySelector)if(c.addEventListener)e=!0;if(c.wp=c.wp||{},c.wp.receiveEmbedMessage);else if(c.wp.receiveEmbedMessage=function(e){var t=e.data;if(!t);else if(!(t.secret||t.message||t.value));else if(\/[^a-zA-Z0-9]\/.test(t.secret));else{for(var r,s,a,i=d.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),n=d.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),o=new RegExp(\"^https?:$\",\"i\"),l=0;l<n.length;l++)n[l].style.display=\"none\";for(l=0;l<i.length;l++)if(r=i[l],e.source!==r.contentWindow);else{if(r.removeAttribute(\"style\"),\"height\"===t.message){if(1e3<(s=parseInt(t.value,10)))s=1e3;else if(~~s<200)s=200;r.height=s}if(\"link\"===t.message)if(s=d.createElement(\"a\"),a=d.createElement(\"a\"),s.href=r.getAttribute(\"src\"),a.href=t.value,!o.test(a.protocol));else if(a.host===s.host)if(d.activeElement===r)c.top.location.href=t.value}}},e)c.addEventListener(\"message\",c.wp.receiveEmbedMessage,!1),d.addEventListener(\"DOMContentLoaded\",t,!1),c.addEventListener(\"load\",t,!1);function t(){if(o);else{o=!0;for(var e,t,r,s=-1!==navigator.appVersion.indexOf(\"MSIE 10\"),a=!!navigator.userAgent.match(\/Trident.*rv:11\\.\/),i=d.querySelectorAll(\"iframe.wp-embedded-content\"),n=0;n<i.length;n++){if(!(r=(t=i[n]).getAttribute(\"data-secret\")))r=Math.random().toString(36).substr(2,10),t.src+=\"#?secret=\"+r,t.setAttribute(\"data-secret\",r);if(s||a)(e=t.cloneNode(!0)).removeAttribute(\"security\"),t.parentNode.replaceChild(e,t);t.contentWindow.postMessage({message:\"ready\",secret:r},\"*\")}}}}(window,document);\n<\/script>\n","description":"by Mihai Luk\u00e1cs The Soviet director Vsevold Meyerhold employed theatre to consciously help the post-Revolutionary effort in the 1920-1930s Soviet Union and to manifest solidarity to workers and to the communist ideals. Radical changes in his (before and after the Revolution) theories prove the politically motivated development of\u00a0 his theatre-making: by rejecting the pre-Revolutionary theatre and its bourgeois baggage based on oppression and inequality, the former theatrical knowledge was abandoned and un-learned, while at the same time new subject positions and a revolutionary theatre could emerge. By connecting his theatrical explorations with the popular scientific ideas of the time, Meyerhold&hellip;","thumbnail_url":"http:\/\/artapolitica.ro\/wp-content\/uploads\/2016\/09\/logo-GAP-facebook.png"}