A General Historical Discussion of the Russian Avante Garde

"You can write for eight hands, you can write for sixteen hands-in fact, you could write for twenty-two hands if you felt like it!" The Russian Avante Gardists were true believers in progress; the past was boring, and most of all, over. Their goal for the future was to dissect human interactions into fundamental parts. By this, they created a focus on the mere act of doing, by producing their ideals in written and visual art.

These ideals sprung from various occurrences in Russia at the time. From the 1905 workers strikes in Moscow, to the civil war of 1918-1919, there grew an unrest and proof of an internal strain throughout Russia. Many were disturbed by the Russian defeat in the Russo-Japanese War, and the forthcoming blow from World War I which caused the abdication of Czar Nicholas II. Along with the worldwide effect of the industrial revolution, increased use of machines, and a failing social system, many artists of the time began to pen visions of an ideal future reflective of the current instability and apprehension.

These ideals were based on structure and human need, requiring a foundation of logic and an understanding of general social good and wellbeing. Aleksandr Bogdanov expressed his dissatisfaction with the work "A Martian Factory," in 1907. At that time the workers strikes, two years old, were still fresh in people's minds, and the loss from the Russo Japanese War was a new wound. This work, originally from Bogdanov's novel the Red Star, dictates a mechanized style of life, as desired by the narrator when visiting a Martian society. It describes a society working to uphold general supply and demand, with no need for currency. "Volunteers" accept time working to cover shortages in industries to keep society as a whole functioning properly. It is a very "one for all," approach, which can be seen as somewhat socialist in a sense. At the same time there exists the freedom to obtain when there is a need; this option is strictly controlled to keep it operating properly. As Bogdanov states,

"The Institute of Statistics has agencies everywhere that keep track of the flow of goods into and out of the stockpiles and monitor the productivity of all enterprises and the changes in their work forces. In that way it can be calculated what and how much must be produced for any given period and the number of man hours required for the task. The Institute then computes the difference between the existing and the desired situation for each vocational area and communicates the result to all places of employment. Equilibrium is soon established by a stream of volunteers."

What is interesting about this society that Bogdanov describes is the use of the word "Factory" in the title of what seems to be a description of a more modern, moral and logically sound society. The placement of an honor system to achieve an overall social positive is highly idealistic, and while it logically makes sense, the reality of it is debatable. It is assumable the narrator is a man, which will be referred to as he, since no name was given. He visits this planet, describes as much like as unlike earth. "The rivers and canals flashed like ribbons of steel." Upon arriving, he views a factory where the staff is reminiscent of worker ants, and the literary usage gives us the impression of a ying-yang, stress less course of action, with use of balancing words like a mantra. "Steady and methodically...nickel and copper...rose and fell smoothly and evenly...back and forth..." He quickly learns that in this society, everyone is a volunteer. Working for all, product shortages are filled with volunteers to even out the equilibrium, and as such, everyone is allowed to take what they need.

With such a difference between the working class and aristocracy in Russia at the time, one can relate to the justification of depicting an ideal society in such a way. One can also consider that Bogdanov has still formed another aristocracy in "A Martian Factory," with the "Institute," with which one may wonder if he deems somewhat necessary in this decision for social order. And the question arises; if such a mechanical society would come to fruition, what would be the place of artists, writers, and musicians? Would the same automatic and reflexive thinking be geared towards a song?

Consider Vladimir Mayakovsky's work, "Stravinsky and the Pianola." Written in 1923, it tells of Mayakovsky visiting Stravinsky in his studio. The preference on his part towards industry and the future is clear, as he states, "The thing that impressed me most was where he lived - in the Pleyel Pianola factory. The Pleyel pianola is an improved kind that is making bigger and bigger inroads on the world market, slowly forcing out real pianists and pianos." His description mainly focuses on the building and the housed pianolas, his only reference to people as "respectable little Parisian couples." In that lies an interesting reversal of usual portrayals, personifying the factory on pages 304 and 305,

"At the back is a howling, yowling and thundering three story building. Its enormous ground floor is full of pianolas, their flanks shining....The heart-rending wails of the pianolas can be heard quite clearly through the tightly closed doors..."

One can also view this as a small reference to the industrial revolution. His depiction of his experience physically shrinks humans, while emphasizing the towering of the machines over them. Mayakovsky's distaste for classical Russian art and music at the time is also apparent, as he describes his disgust in beginning of the work at viewing Island of the Dead. In general, the feeling emphasized is one of greater expectations from technology and machinery than man. In a sense, he suggests our greatness is dependant on them (industry and machines), with this written work showing his fascination.

Interest in these two specific works lies in their responses to each other. "A Martian Factory" satisfies the logicality of such a society, while "Stravinksy and the Pianola" enables one to view a future for passions, such as music, in this case, all entwining technology. Both works minimize the focus of men, placing it on industry on a grand scale. On the other hand, those of the Russian Avante Garde typically desire the power they despise in the aristocracy. This is somewhat humorous then that their ideal societies do not emulate themselves, unless they might see themselves as metaphors for the machines.

Literature is always influenced, not only by the author, but by the experiences occurring at the time is it written. The Russian Avante Garde is an immediate reaction to the cracking social and political structures in Russia during the early twentieth century. Their desires to pull away the layers of society to the basics found a home in the reliability of industry. One may argue this removes the personage from things such as art, yet one may also argue it exposes them.

Sources:
Mayakovsky, Vladimir. "Stravinksy and the Pianola," Utopias, Catriona Kelly; London, England: Penguin Books, 1999.
Bogdanov, Aleksandr. "A Martian Factory," Utopias, Catriona Kelly; London, England: Penguin Books, 1999.