Abstract

This article considers revolution as a political clash and revolutionism as an aesthetic position, which is a topic inspired by the philosophical, social, and aesthetic experience of the twentieth century. This topic has been considered on the eve of the 100-year anniversary of the October Revolution. The author proceeds from the claim that one of the theatrical geniuses, Vsevolod E. Meyerhold, was, above all, a man of politics, while the other, Yevgeny B. Vakhtangov, was first and foremost a man of art. The revolutionary pathos of Vakhtangov’s work is paradoxically actualized through the concept of myth and compassion as an alternative to cruelty and destruction. The personality of Meyerhold is described within the context of the revolutionary scene and in the unique mode of revolutionary nature and action. The experience of these theatrical geniuses in all their personal contradictions and artistic difference shows that it is possible to live during a time of revolution, but it is impossible to live in a constant state of revolution. Only creativity, as a source of hope and harmony, is an alternative to chaos and destruction.