Creative Labour as a Victory Factor: Theatre and Other Arts in the Wartime USSR

This article examines the formation and mainstreaming of creative labour in Soviet society. Because the Soviet cultural revolution did not completely destroy the old foundations of society, but rather transformed them into a new form, Soviet culture was not rebuilt anew; it preserved the past while adding new, original features. One of the elements of this innovation was the development of a different attitude toward labour than the traditional one. From the very first years of Soviet power, efforts were made to liberate society from all forms of alienation, including alienation from labour. Characteristic features were the cultivation of enthusiasm, camaraderie, and the development of social labour. As a result, labour (physical or artistic) began to be perceived as a creative process. A striking example of this, in our opinion, is the activities of theatre groups during the Great Patriotic War. During the Soviet era, theatre is viewed, on the one hand, as a sociocultural institution, one of the primary transmitters of the cultural and social values of the multiethnic Soviet society, whether traditional Russian ones or newly emerging. On the other hand, it is viewed as a collective action, where artists inspired others with their personal example of labour and the fight against invaders. During the war, theatre repertoires primarily included military themes, but productions not only demonstrated the tragedy of those years but also the significance of labour exploits. Frontline theaters and brigades were established, and theatrical companies actively toured not only to remote settlements but also to the front lines. This article demonstrates that theatre art embodied the propaganda of the just nature of the war, strengthening friendship between peoples, and loyalty to socialist ideas. It illustrates the unifying significance and role of regional theatre figures in calling for labour exploits, fostering patriotic sentiments, and consolidating multiethnic Soviet society. The author concludes that during the Soviet years, an attitude toward labour as a creative process developed, regardless of whether it was physical or intellectual, in an artist's studio or on a theatre stage. The importance of this perception of labour was clearly demonstrated during the Great Patriotic War. Using the work of theatre companies as an example, it was revealed that both the theatre workers themselves and the products of their work demonstrated the need for labour exploits, social and military service.