ACTING ON THE SCENE OF POLITICAL THEATRE: LEFTIST DRAMA STUDIOS IN RIGA 1920–1930

Abstract

The article discusses the political theatre scene in Latvia, focusing on the cases of the leftist drama studios at the Riga People’s High School (1920–1928), the Riga Central Bureau of Trade Unions (1924–1928), and the Riga Workers’ Theatre (1926–1934). This research showcases conflicts and significant differences in opinion between the approaches taken by the radical socialist wing and the left-centrist position. For a more comprehensive understanding, the paper delves into specific examples of these differences by analysing methods of drama studios and revealing the nuanced dynamics within Latvia’s political theatre scene. The radical wing ideas were developed by Asja Lācis (locally known as Anna Lāce, née Liepiņa, 1891–1979). Her avant-garde artistic approach to rehearsals as self-sufficient devised performances aimed to generate self-activity in participants. In that case, radical amateurism was proclaimed as the left-wing socialist point of view and approach related to agitprop theatre. On the contrary, the moderately left-centre social democrats developed the idea of socially engaged modernist theatre led by directors and pedagogues Olga Bormane (1893–1968), Jurijs Jurovskis (real name Georgijs Saruhanovs, 1894–1959) and Jānis Zariņš (1893–1979). Riga Workers’ Theatre incorporated the drama studio of Riga People’s High School as a school for actors. Consequently, Workers’ Theatre became one of the professional theatre companies in Riga, considered to be on par with the Latvian National Theatre and the Dailes Theatre.

This article employs a historical-critical approach to examine the intersection of art and socio-political dynamics through textual and performance analysis, including programmatic writings and workers’ press. Comparative analysis highlights transnational influences, such as German political theatre and Soviet agitprop, on Latvian leftist performance. Political theatre is approached not only as a practice but also as a metaphor for national emancipation and social transformation. The research complements the history of Latvian theatre with an interdisciplinary perspective, debating the influence of left-wing political movements and their manifestations in theatre. The paper concludes that participatory theatre practices, such as collective creativity, co-authorship, interactive and devised performances, were innovations of the time and enriched the Latvian theatre scene.