This topic has 6 replies, 5 voices, and was last updated 7 years, 3 months ago by 
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This is one of the most appropriate quotes from Ayn Rand as her entire point through most of her writings was that your actions and abilities define your success and also you. And it must be self earned.
This ties extremely well into The System.
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As per Kevin, image is a set design from the constructivist play “The Magnanimous Cuckold”.
Here’s the LUSTY plot from Wikipedia:
“Bruno, the village scribe, is married to a beautiful and devoted young woman named Stella. He makes a good living composing love letters for the uneducated villagers, many of which are addressed to his wife. Bruno’s eloquence can lift him off into rhapsodies of brilliant exaggeration. As a character verging on the manic, his paranoia is easily excited. He convinces himself that his fear of being cuckolded can be appeased only by the certainty of knowing he is a cuckold. Therefore, he offers his wife first to his best friend and then, when that fails to appease him, to all the young men of the village. This demented decision disrupts village life: the town turns violently against him, and the women of the village threaten Stella with torture, degradation and expulsion.” -
So the image itself appears to be from the stage set design for “The Magnanimous Cuckold” and is by Ljubov Sergeyevna Popowa, who worked in the cubofuturist style. Most of her other works are in the same vein of the paintings we’ve seen recently, but this one isn’t quite the same.
She also worked in the constructivist style and it does look like “The Magnanimous Cuckold” was constructivist in its design. More here:
Vsevolod Meyerhold’s production (1922) broke away from the “conventional framing of the acting area” by eliminating the wings and proscenium arch from the scenery. He believed that the scenery should just represent the setting in its most basic form rather than “illusionistic settings”. Due to the nature of theatre, Theatrical Constructivism is somewhat of an oxymoron. Its use in theatrical productions is not strictly utilitarian like many constructivists desired. Theatre requires a certain amount of subjectivity and use of imagination on the audience’s end. Meyerhold’s production, despite being vastly different from what people were accustomed to, was received very well. The set for The Magnanimous Cuckold consisted of framework, rotating wheels in the background to signify machinery, and a windmill to indicate the play’s location. The intention of the simplified scenery was to “organize a scenic space in the way most convenient for the actors”.In addition to facilitating the actors, the scenery was also designed with the expectation that it could be presented outside as well, due to the closing of Meyerhold’s theater. This resulted in the set being easily deconstructed and reconstructed, a strong indication of constructivist influence on the production.
Another indication of this influence comes from a large, black, rotating disc in the background. On this disc the letters ‘CR-ML-NCK’ were painted in white, which made it far more visible when the disc rotated (along with the two wheels) which coincided with the changing passions of the characters. There was not a subjective meaning to the letters on the disc; they referenced the writer (Crommelynck), and made the rotation of the disc more obvious than a purely black disc would be.
The simplified scenery in constructivist theatre was simply meant to inform the idea of the play, not to take on a more important or formal position.
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@kevin I’m wondering if the paintings will continue to shift from the abstract to more coherent, like we’re slowly seeing something more clearly.
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I can’t believe that I missed that today’s image was scenography. I am a dumbass. @kevin thanks for pointing that out!
Here’s a photograph of the realized set from a 1922 production:
Also more text on it:
For Vesevolod Myerhold’s production The set and the actors based entirely on industrial production. Brought scientific movement used to make work efficient into the theatre- actual workers theatre The set had large wheels that kept everything in time to their rotation, so the play progressed like an orderly factory floor
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