Summary

Portrait of Bertrand Russell Bertrand Russell The Practice and Theory of Bolshevism… (1920)

The pageant lasted for five hours or more, and was as exhausting emotionally as the Passion Play is said to be. I had the vision of a great period of Communist art, more especially of such open-air spectacles, which should have the grandeur and scope and eternal meaning of the plays of ancient Greece, the mediæval mysteries, or the Shakespearean theatre. In building, writing, acting, even in painting, work would be done, as it once was, by groups, not by one hand or mind, and evolution would proceed slowly until once again the individual emerged from the mass.
Source: Wikisource

Portrait of Bertrand Russell Bertrand Russell The Practice and Theory of Bolshevism… (1920)

This teaching of Communism, however necessary it may appear for the building of the Communist state of the future, does seem to me to be an evil in that it is done emotionally and fanatically, with an appeal to hate and militant ardour rather than to constructive reason. It binds the free intellect and destroys initiative. An industrial state needs not only obedient and patient workers and artists, it needs also men and women with initiative in scientific research. It is idle to provide channels for scientific research later if it is to be choked at the source.
Source: Wikisource

Portrait of Bertrand Russell Bertrand Russell The Practice and Theory of Bolshevism… (1920)

It is impossible to describe the exquisite beauty of the slow movement of those dark figures aslant the broad flight of steps; individual expressions were of course indistinguishable, and yet the movement and attitude of the groups conveyed pathos and patient endurance as well as any individual speech or gesture in the ordinary theatre. Some groups carried hammer and anvil, and others staggered under enormous blocks of stone. Love for the ballet has perhaps made the Russians understand the art of moving groups of actors in unison.
Source: Wikisource

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