ABSTRACT
The crisis over the Solovki reached a climax in 1929-30, when, in response to mass repressions of the clergy in the Union of Soviet Socialist Republics, (USSR), the Pope called for an anticommunist crusade. Ironically, the same year of 1929 marked the quincentenary of the Solovetsky Monastery's foundation. The camp's 3rd Sector set in motion a carefully thought-out provocation. Circumstances unknown to us made Gorky alter his plans and spend two days - 20 to 22 June - on the Solovki. A small symphony orchestra performed the overture to the Barber of Seville, a violinist rendered Wieniawski's Mazurka and Rakhmaninov's Spring Waters; the prologue from Pagliacci and some Russian songs were sung. Yet theatrical life on the Solovki did not wane. Upholding with difficulty the 'solovetskians rights and traditions in the face of inexorable time, the Solovkians supported amateur dramatics and a propaganda brigade. Once again a professional theatre was created only to perish.
