Abstract

Since the vast majority of Mongolia's population was illiterate, its revolution was initially acted out upon the stage. Amateur actors and revolutionary youth groups came together – the former portraying the ideological material promoted by the latter – in an attempt to develop a new understanding of, and approach to, theatrical performance. In this way, small theater groups spread across the country, performing ideological education to show, through satire and through historical and social drama, the misery and inequality of pre-revolutionary Mongolia and the benefits the revolution had brought. The influence of Soviet agitprop led to more innovative, amateur productions, while the opening of a national theater in the late 1920s and the arrival of directors – and later actors – from the Soviet Union brought credibility to the theatrical arts and led to professionalized roles for actors, set designers, painters, singers and musicians.

Keywords: literacy, literature of propaganda, amateur theater, youth theater, Red Corners, Sühbaatar Club, Mongolian National Theater

The curtain rose on a duke and his wife on raised seats, beside which sat a noseless Taiji (noble's son) and a retainer. The family was kitted out in knobbed hats, long gowns and short outer jackets with square designs on front and back. A servant entered and knelt down to address them. He aroused the ire of his masters and was slapped by the retainer until his hat fell to the ground. Some grooms who came to report the escape of their horses were immediately given a sound upbraiding and were remanded to a prince's office for punishment.