Masks of the Poet, Myths of the People: The Performance of Individuality and Nationhood in Georgian and Russian Modernism

Georgian and Russian modernisms engaged in a conversation that was by no means one-way and in which the chronological development and aesthetic premises of Russian symbolism became curiously inverted. Piecing together this forgotten dialogue allows us to recover a neglected crosscultural and properly Eurasian dimension of the Silver Age. Russians and Georgians alike invoked the mask as a theatrical form and myth as a narrative structure to articulate problems of individual, collective, and national identity. Mask and myth shared two distinct and somewhat incompatible genealogies, the one deriving from the Italian commedia dell'arte and the other from Friedrich Nietzsche's reading of Greek tragedy, both of which corresponded in turn to a typically Russian tension between the “decadent” and “mythopoetic” redactions of symbolism. These genealogies were critically adapted by the Georgians in an attempt to address the perceived needs of Georgian national culture. Aesthetic and philosophical problems concerning the semiotics of the name, the nature of the poetic persona, and the structure of myth came to be related to wider questions proper to an era of crisis and transition: modernity and historical belatedness, the dynamics of cultural importation, the gendered nature of nationhood, and the vexed relationship between popular culture and modernism as an elite cultural formation.