THE MOTHER April 25, 26, May 1, 2, 3, 4, 1980

Kennedy Theatre University of Hawaii

Honolulu, Hawaii

THE UNIVERSITY TH EATRE

T"iiE MOTHER By Bertolt Brecht, adapted from the novel by Maxim Gorki

English version by Lee Baxandall

Additional d ia logue fro m Gorki's novel, translated by Margaret Wetlin

Adapted and Directed by Dennis Carroll

Set Design by Richard G. Mason

Costume Design by Sandra Finney

Technical Direction by Mark Boyd

Lighting by Victor G. Holliday

Russian T ranslations and Transliterations by Michael Klimenko

Actors' Coaching in Russian by Michael Klimenko, assisted by Pamela Gang and Susan Metcalf

Choral and Instrumenta l Arrangements by Aaron Mahi

Choral Direction by Aaron Mahi (Roosevelt High) and Ethel Iwasaki (Kalani High)

Choirs' coaching in Russian by Alexander BorisotT (Roosevelt)and Pamela Gang (Kalani)

Assistants to the Director: Jo Dilallo, Dwight Lum, and James Allen

Production Manager: Stephen Clear

Choreography for preshow dance by Nikki Paisner

P reshow Balalaika ensemble directed by Vitaly Beresny

Characters in Order of Appearance: Andrei Nakhodka . . . .. ... . ... . .. ... .. . . . .. . .. ..... . . . . ... ... . . J ohn Howland Natasha Kalatova . .. . . ... . . ... .. . ... . . . . .. . . . .. . . .. . . . . .... . .. Pamela Gang Sasha Vavilova .. .. . .... . . ... . . . .. . ... . . . . . ... . ... .... . . .. .... Lynn Sager Ivan Yessovchikov . . ..... .. . .. . .. . ... ... .. . . . . . . .. .. . . . ... .. .. J ohn Kearns Pavel Ylassov . . . ... . ... . . . . . . . . ... . . . . . . . .... . .. . . . .... .. .. . . Dan Davis Pelagea Vlassova, his mother . . .. .. . . . . . .. . ... . . . . ... . . . .. . . .... Barbara Kelly Mikhail Ylassov, his father . ... .. ... . . .... .. .. . . . . . . .... . .... .. . Michael McClurg Kostya Seregin (The Officer in Scenes 2 & 5) . ..... . .. . . . .. ... . . .. . David O 'Brien Fyodor Beguntsov (The Chief of Police) ... ... ... . .... . . . ..... . .. . Charles Curammeng Matvei Krainov, a guard , later at the Prison,

and Official at the Copper Collection . ... ........ . . . ... . . . . .. .. . Greg McCall !gnat Mironov, the guard at the factory .... . . . .... .. . . .. .. .. .. . .. Leonard Laurence Vasili Gusev, a factory worker ... . . . ... ......... . .. .. .. .. . . . . . .. Tam Trevino Boris M ishin, a foundry worker and infi ltrator ... . .. . . . ... . . . ... . .. Alan Kagan Sergei Karpov, Union bargaining representative .. . ..... .. . ... . .. . . . Kyle Kakuno Konstantin Makhotin, Suklinov Company policeman . . . . ... . . . . .. .. Robert Smith Fedya Smilgin, bearer of the flag . . .. ... . . .... . .. . . . . . .... . . .... . Michael McC lurg Nicolai Vessovchikov, a teacher, Ivan's brother. . .. . .. . . .. . . . . .... .. Norman Gibson Pyotr Sostakovitch, a metal worker . . . .. . .. . .. . . . . .. . . . . . .... .. . . David Strauss Varvara Nicolayevna, a visitor at the prison,

later at the Copper Collection . .. . . .. . . . . . . . . .. . . .. .. . .. . ..... . Lorra ine Truitt Ludmilla Yasilevya, likewise, a merchant's wife .. ...... . .... ..... . . . Karla Woodfa ll Yegor Lushin, a farmer in Pirogovo . . .. . ... . . . . . .. . .. .. . . .. .. ... . Mike Carroll Nikita Yasukov, the Estate Butcher at Pirogovo .. . . .. ... . . . ... . . .. . Philip Nasca Sophia Andreevna, his wife . ....... .. ... . . . . . .. .... .. . . . . .. . .... Nikki Paisner Savel Yevchenko, the shorter strikebreaker . .. . .. . ....... ... ... . ... Billy Ray Boyd lsai Fedyakin, the ta ller strikebreaker . .. . .. .... . . . . . .. ... ... . . . . . . David Hecht Stepan Kryazov, Officer at the Finnish Border . .... . . ... . .. . . . . . . . . Mark Fulwiler Vera Stefanovna, Ylassova 's Landlady .. .. . . .. .. . . ... .... ... . . . .. . Shannon Patten

Natalya Sergeevna, Vera's visiting country relative ... .. .. . . . .. .. .. .. J o Dilallo Lydia Antonovna, her tenant .. . . . . . . ........... . . .. . . ... ....... Barbara F itzSimmons Alexandr Pankov, worker at the Railway Station .. . . . . . . . ... ... . .. Alan Kagan Kolya F edyakin, a teenage worker . .. . .. ... . . . ... . . . . . .. . . ... .. . . Mitchell Young Tatyana Vasilyevna, a prostitute . . .. . ... . .. . . . . . .... . . . . .... . .. .. Kathy Ginnett Galina Vishnevskaia, woman worker at the Copper

Collection . . .. . . . . . . .. . . .. . . . . . .. . ..... ... . . .. .... . . . .. . .. . Sandra Perez Natasha Tveryakovna, at the Copper Collection . . .. . .. . . . . . . .. .. . . . Susan Metcalf Katyerina lsmailova, another woman at the Copper

Collection . . . . .... .. . . .... . .. . . .... .. . .. .. . . .. . . .. . . . . . ... . Bonnie Chock Nastya lvanovna, a housemaid . .. .. . . . . .. .. ... .. . . .. . . . . .... . ... J amie Psak

SOLDIERS, WORKERS AN D T HEIR FAMILIES , STRIKERS, BOURG EOIS WOMEN

SOLDIERS (All in Demonstration, as well as the following scenes): J ames Aina (Opening, Railway Station), Tiger Ferdinand (Finnish Border, Ra ilway Station), J .T. Griffin (Finnish Border), Kevin Griffin (Finnish Bord~r, Railway Station), Gary Keener (Prison), Robert Kerch (Finnish Border, Copper Collection), Kent Walker (Finnish Border, Railway Station), Sam Wellington (Opening), J oe Williamson (Finnis h Border, Copper Collection).

WORKERS AND TH EIR FAMILI ES: PART ONE: Factory Workers and Mourners, Scene One: Lauren Allen, Elaine Dellande, J o Dilallo, Beryl Ekimoto, Barbara FitzS immons, Sonya Giffin, Heidi Gorst, June Grimes, J ames Heery, Kent Kinoshita, Susan Lau, Palmer Lawson, Barry Look, Molly Meehan, Lee Morris, Rockwell Oda, J acintha Perera, Sandra Perez, Bonnie Town, Diane Trembly, Hollis Vickery (Priest). Coffin Bearers: J o rge Castaneda, J ames Pestana, Angel Abcede, Don M otooka. Foundry Workers' Chorus, Factory: J ames Allen, Mike Carroll, Kevin Kawamoto, Kent Kino-shita, Barry Look, Dwight Lum. Banner Carriers: J ames Allen, Kent Kinoshita, Palmer Lawson, J orge Castaneda, Tracy Grayson, Mike Carroll.

PART TWO: Sostakovich's Relatives: Diane Trembly (Wife) , Don Motooka (Brother) , Keenan Allen (Brother's Son), Susan Lau (Aunt), Lee Morris (U ncle). Reading Class at Vessovchikov's, in addition to Sostakovich and Relatives: Dennis Crane, Gina Mallin, Regina Pestana, Lori Emory, Bonnie Town, Mitchell Young. Prisoners: J ames Allen, Keenan Allen, Kevin Kawamoto (Dragunov), J ames Pestana. Visitors at the Prison: Angel Abcede, Sonya Giffin, Heidi Gorst, J ames Heery, Susan Kahn, Leigh Ann Kinghorn, Yuria Kim, Rockwell Oda, Taina Otero, Lynn Silva (Dragunova), Bree Taylor, Jim Turner, Lori Urakawa. Workers on stairs: Elaine Dellande, Beryl Ekimoto, Ann Georgulas, Shara Hutchings, Tanya Lau, Roberta Little, Lisa Lum, Nadine Lum, Molly Meehan, J acintha Perera, Malia Preble, Shelly Rundle, Barbara Tacyshyn, Helen Wil hite, Pollyanna Ulgaran. Strikers, Estate Scenes: T racy Grayson, Cheryl J ones , Marlene Kleeschulte, Palmer Lawson, Anne Lester, Melinda Maltby, Craig Martin, Mark Murray, Lily Sakata, Terri Shine, Hollis Vickery.

PART T HREE: Finnish Workers: Dennis Crane, Anne Georgulas, June Grimes, Roberta Litt le, Malia Preble, Jim Turner. At the Railway Station: Keenan Allen, Bi lly Ray Boyd, Dennis Crane, Gina Mallin, Lee Morris, Don Motooka, Malia Preble, Lynn Silva, Bonnie Town. Finale: Everyone. Workers' Children: Danny FitzS immons, Modesto Ulgaran.

BOURG EOIS WOM EN: Taina Otero (Copper Collection), Regina Pestana (Copper Collect ion), Bree Taylor (Demonstra-tion, Copper Collection), Anita Trimmer (Copper Collection), Loretta Winans (Demonstrat ion,

Copper Collection), Carroll Woolley (Demonstration, Copper Collection), Marcy Woolley (Demonstration, Copper Collection), Olive Zanakis (Demonstration, Copper Collection).

LIVE MUSIC I. God Save the Tsar (Russland, trad .) 2. Partisan March (Alexandrov, Parfenov) 3. Bravely with Glowing Hearts (Trad. student song, words by Leonid Radin) 4. Warsavianka (Trad.Polish song, words by G.M . Krzizanovski) 5. Funeral March (A .E. Yarlamov, words by Y. Arhangelski) 6. I nternationale (Degeyter, words by Pottier)

ROOSEVELT HIGH SCHOOL CHOIR (directed by Aaron Mahi): Diane Abe, Maria Baduria, Thomas Boyd, George Cadinha, Lisa Cambra, Francine Chandler, Corrine Chun, Adam Derego, Eseta Falefitu, Tavita Falefitu, Deborah Fernandez, Renee Fujitai, Lynette Hamada, Charles Hemenway, Stephen Howland, Mark Jacques, Lisa Johnson, Kent Kaahanui, Robert Kahue, Dana Kalaokaa, Annie Kaluna, Joann Kama, Denise Kamaka, Kevin Kanakanui, Lisa Kang,Lisa Kanno, Joelin Kapanui, Kaleo Kekoa, Edwina Kelekohio, Melissa Kolo, Francis Kuewa, Darolyn Kuhia, Corrine Kuriki, Suzanne Marie, Lorna Muricae, Shanette Naumu, Jon Oka, Samelyn Pedro, Babette Porter, Stephanie Schmidt, Linda Shimada, Merle Shiroma, Gary Strain, Wayne Teves, Katrina Thomasson, Lai Trinh, Philtan Velasco, Wilhelmina Yea, Malia Won g. KALAN! HIGH SCHOOL CHOIR (directed by Ethel Iwasaki): Aileen Acain, Malia Akana, Morgan Blank, Rhonda Brown,Chris Chung, Susie Davis, C. C. Ellis, Marc Frigard, Michelle Frigard , Michelle Green, Donna Hee, Paul Hoe, Kelly Hummel , Donna Ikuta, Keith Kalaukoa, Christy Naftel, Annie O'Connell, Suzie Park, Cody Perez, Tracy Pulice, Sheldeen Quiocho, Eric Rosa, Stephanie Tom, Nani Wa(jdoups, Laura Weiss, Jerri Skuta..

BRASS, WIND, AND PERCUSSION ENSEMBLE (directed by Aaron Mahi): Betty Hisao, flute; Ulrich Starns, flute; Roberta Mcinnis, clarinet; Lynn Rowen, trombone; Jay Sadler, trombone; Mike Dreslen, French horn; Ben Elk, snare drum.

PRESHOW DANCE:

Musicians: Yitaly Beresny (Balalaika), Larry Segedin (Bass Domra), Ruth Hunter (Guitar), Norman Gibson (Tambourine), Barbara Tacyshyn (Woodblocks). Dancers: Angel Abcede, .June Grimes, Cheryl .Jones, Leonard Laurence, Molly Meehan, Mark Murray, Nikki Paisner, Richard Rosen, Lily Sakata, Larry Ward, Karla Woodfall, Mitchell Young.

* * * ADDITIONAL ACKNOWLEDGEMENTS:

Wind Ensemble from the Windward Symphony Orchestra and the University of Hawaii Additional Russian Coaching by .Jo Dilallo Finnish Translations and Coaching by Elsa Carroll My special thanks to the following teachers and schools for interesting students in participating in this production: Candy Brown, Aiea High; Sandy Erlandson, Kailua High; James Bertino, Kamehameha Schools; Mary Beth Sandia, Maryknoll High; Lee Lowell, Roosevelt High; James Nakamoto, McKinley High; Gayle Pai, Mid Pacific Institute; Kathy Kuroda, University High; Mayne Ohashi, Radford High; Lloyd Wood , St. Louis High; Dando Kluever, Leeward Commu-nity College; Sara Edlin and Sandra Perez, Honolulu Community College; Marvin Char, Waianae High.

FILMS AND SLIDES:

Many of the slides used in the opening montage are from the recently published collection of photo-graphs by Chloe Obolensky, The Russian Empire (New York, Random House, 1979). Excerpts from the following films are used: Pudovkin's Mother (1925), Eisenstein's Strike (1924) and October ( 1928).

~ECORDED MUSIC:

t1oussorgsky, "Where Are You, Little Star?'' Kim Borg, Prague National Theatre Orchestra, cond. :halabala (Nonesuch); Sibelius, "Spring Song," Op. 16, Royal Liverpool Philharmonic Orchestra, ond . Groves (E .M.l. H.M .V.); Shostakovitch, Symphony No. 2, "To October," Royal Phil-armonic Orchestra and Chorus, cond. Gould (RCA); Symphony No. 4, Chicago Symphony )rchestra, cond. Previn (Angel); Symphony No. 7, "Leningrad," Czech Philharmonic Orchestra, ond . Neuman (Supraphon); Symphony II, "The Year 1905," Houston Symphony Orches-ra, cond. Stokowski (Everest); Symphony No. 14, Members of Moscow Philharmonic Orchestra, ond. Rostropovich (Melodiya jColumbia).

PRODUCTION STAFF tage Manager: Stephen Clear. ~ssistant Stage Managers: Kirk Maes, Ken Yoshida . .ighting: Suzanne Brown, Zaff Bobolin . . ound: M ichiko U eno 'roperties: Gordon P. Svec, Betsy McHugh. :ollow Spot Operators: Richard MacPherson, Sheryll Bonilla. et Construction: Gen Boyer, Stephen Clear, Victor G. Holliday, Patrick Kelly, Betsy McHugh,

Lorraine Truitt, Gordon P. Svec, and Students from Drama 101 and 240 . . tage Crew: Stephen Childs, Maurice Bassle. 'rojectionist: Lynne Soong. :ostume Cutters: MayField Drorbaugh, Holly Lovins, Janice Yoshimoto, Virginian West. :ostume Crew: Janice Yoshimoto, Virginia West, Gail Hayashi, MayField Drorbaugh, Holly

Lovins, Wendy Muraoka, Nancy Darvill, Elitte Dykstra, Nai-Chai Tung, Marchita Worst, Jeanne Mercado, and Drama 101 Lab students.

)ressers: Wendy Muraoka, Gail Hayashi, Holly Lovins, Nai-Cha Tung, Elitte Dykstra, Kari Tanaka.

' hotography: Diane Chong. 'oster Design: Billie I ked a (University Relations Office). 'ublicity: Eric Pourchot , Ralph Hirayama. 'rogram: Eric Pourchot , Billie Ikeda (University Relations Office). louse Manager: Chris Kohler. lox Office: David Furumoto, Rose Jung, Pamela Robinson , Alison Uyeda. Jshers: Radford High School (NHS), Star of the Sea Drama Club, Waianae High School(NHS),

St. Louis High School Drama Club, Radford High School Drama Club, Maryknoll HighSchool Drama Club.

THE MOTHER

-he production yo u wi ll see to night was deve loped from sources in three different media - novel, theatre, and film . l! ax im Gorki (1 868-1936) wrote The Mother while in exile in the United States in 1906. Publ ished first in English, it uickly became a best seller and the Bible of the international labor movement. It is now rega rded as a classic, both within the ov iet Union and elsewhere. Apart from Pudovkin's 1925 film, used in this production, there were severa l different stage e rsions. none by Gorki himse lf. Bertolt Brecht's 1932 LRhrstuck is the most famo us. The work was intended as a revo lu-onary primer for act ion against Nazism. It conta ins some implications about the Berlin situation in the 1930's that have lost 1eir sting, and some extremely litera l Marx ist exposition tha t now seems redunda nt . but the text has a ballsy aggression and speed and cla rity o f narrative develo pment that remai n undiminished by tim e. About two thirds of Brecht's text have been ~tained ; three scenes based on dia logue fro m Gorki's origina l have been added.

n the late 1970's, a wave of revisionism in the staging of Brecht 's plays hit Europe. and this has had an influence on the cur-~ nt production. T he old Brecht ian devices of distant iation ( Verfremdung) have become coopted by the commercial theatre nd have lost their radica l purpose; much the same is true of the style of the standard "class ica l" Brecht production, with its :l ivided" stage. measured pace. "cool" act ing. dispass iona te white lighting. and so on. Recent directors have added surreaL .rtaudian techniques to the sta ple Brecht ian ones, a nd this has resulted in an exciting reassessment of the images (rather 1an the didacticism) in Brecht's plays, and the Surrea l lurch (rather than the measured Epic stride) of his narrative struc-Jres. What Lee Breuer of Ma bou Mines has ca lled "tracking" - simultaneous deve lopment of severa l lines of action and nages - is being used tonight . as well as an orchestration of mass space and action a fter the ma nner of European thea-·ica list directors like Stein. Ronconi and Gruber. Before the Estate Scene, for example. yo u will be asked to leave your seats nd observe the proceedings from either of the two lana is; the scene will be enacted on the concrete curb in front of the 1eatre. The plunky acerbity of the small-sca le Brecht-Eisler songs for the original production has been replaced by tracti-onal Russian anthems and revolutionary songs - sung in Russ ian. Whereas some of these techniques a re different from 1ose Brecht would have used, their purpose is the same: to cajole and/ o r jo lt the audience away from the anodyne simpiness f standard bourgeo is theatre.

h e M other embodies a theme which is very unfas hiona ble in this age o f narcissism: setting the Self aside a nd finding it again

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!mbodies the ritual of revolution , a great public upheaval both celebrated and relived by its participants as it indelibly reshapes the human beings making it and in turn made by it , in a tita nic onslaught against outmoded social institutions and unea rned socia l privilege.

THE MAKING OF THE RUSSIAN REVOLUTION n 1904, the Russian Empire was a predo mina ntly rura l society of 129.000,000 people; only 19 towns had more than 100.000 nha bitants. The Empire was an abso lute monarchy ruled by the Tsa r. 1 n practi ce he was advised by an Imperial Council. a •ody which controlled a gargant uan. ineffi cient bureaucracy divided into fo urteen ranks. The Imperia l Council had quite an nfluence on legislation and genera l government po licy, but no actua l lega l powers.

186 1: Tsar Alexander 11 ema ncipated the serfs . T he gent ry were pa id a compensation, but th is they soon spent, and tried to usta in their previous style of livi ng by debt. T hey became a ll the time increasingly impoverished a nd estranged from the •easants. whom they no longer had the material or spiri tua l resources to help . The peasants now "owned"theirsmall parcels ,f land. a nd could pa rticipate in a newly-created system of provincia l and county se lf-government, but they were burdened vith a "redemption payment" spread over many years. Many were una ble to make a go of it on their land and were no longer upported by barter and part-time work with the estates. As a result they drifted to the burgeoning city factories to earn ex tra !uring the fa llow winter months. During the summers they returned to their families in the villages to plant and harvest.

1860-79: In these years, a revolutionary movement called Po pulism arose among the younger members of the disaffected ~entry. They sought to overthrow the entire structure of society by going to live among the peasants and educating them to he need for socia l change. Failure led the party to break into two wings, one a terrori st group called the People 's Will, which ina lly, in 188 1 succeeded in assassinating Alexander 11 , the most libera l and forward-looking Tsar in 100 years. The .ccession of Alexander lll ushered in a new era o f conservat is m a nd repression.

1879-85: These yea rs were the beginning of vast industria lization and railway expansion and an economic boom. Factory !gislation was passed limiting the hours of the working day a nd the age of workers, as well as guarantee ing factory inspec-ions. But the legislation was oft en not enforced and wages were generally the lowest.in Europe. A series of st ri kes developed n tandem with the fi rst T rade Union activity. Insta llation of more expensive machinery in the factories made it no longer conomica l fo r them to close down in summer, so pressure was placed on employees to sign yea r-round contracts a nd cut hemselves off entirely from thei r rura l roots.

1894: Accession of Nicholas II. He fa iled to listen to pleas for liberalization of government and a Constituent Assembly. 1895: Lenin, a young revolutionary lawyer, was ex iled to Siberia. 1896: Beginning of a series of aggressive strikes in the factories fo r bett er working conditions. Spies and members of secret

•alice (Okhrana) infiltrated Unions a nd the fac tories. 1902: Minister of the Interior, S ipiagin. was assassina ted by the Socia l Revolutio nary Party, an o utgrowth of the earlier

'o pulist Movement. / 903: The Socia l Democrat ic Labor Party, st ructured on Marxist principles, was fo unded. It broke into two groups: the

lolshev iks which placed faith in revolut ion through the pro leta riat a llying itself with the peasants, and the Mensheviks 1hich plumped fo r the proletaria t temporarily a llying itself with middle-class ca pita lism.

1904-05: Russ ia emba rked on an ex pansio nist war with J a pa n fo r more control in the Pacific area. Disastrous defeats led J ha rdship and to the J a nuary 9 March on the W inter Pa lace to place a petition in the ha nds of the Tsa r. Soldiers opened fire •n the march, killing several hundred workers. This bloody Sunday led to mass protests, strikes, a nd revolutionary .ctivity, and the arrest and deportation of tho usands, including the po pular author Maxim Gorki. In the "October Mani-!Sto," Nicholas promised to call a Duma ( Parliament). But in fact, the three parliaments which met from 1907 to 1911 had ttle rea l power, and a nother era of repress ion and authoritarian is m began. A railway strike in S t. Petersburg in October ·ecame the first successful genera l strike in modern history. At its climax. the first soviei (co uncil of workers' deputies) was ;:> rmed, based on a num ber of elected deputies fro m di ffe rent facto ries or factory a reas.

1908- 11 . Sto lypin. the last able Prime Minis ter of the Duma. att empted to libera lize educationa l, land , a nd factory legisla-Jon. His murder in 1911 paved the way fo r ascenda ncy o f the depraved priest. Rasputin, in court policy.

/ 912: T he fo rmation of factory syndica tes and a new eco nomic boo m increased the power of the mercha nts and facto ry ·wners. A number of strikes. notably on the Si les ia n coa lfie lds, we re bruta lly suppressed; strikers were massacred by police nd milita ry.

/ 9 /4: Russia entered the war on the side of Britain and France against the German Empire. Mo bilization was initia lly uccessful: advances in the south led to the taki ng of key towns in Ga licia. including the strategic town of Przemys l.

/ 9/5: Severa l milita ry reverses. Nicholas II . aga inst the advice of his ministers. t ravelled south to take command of the •rmy persona lly. T he Tsa ri na Alexa nd ra, dominated by Rasputin. was placed in charge of civi lian government in St. Peters-•urg.

1916: Strikes, bread riots and co llapse of mora le on the fro nt bro ught the Empire to the brink of chaos. Ras putin was 1urdered in Decem ber.

191 7, February: Events celebrating Interna tional Women's Day led to a series of massive strikes a nd riots. March: Nicholas II was induced to a bdicate by h is ministers and generals. There was uncertaint y as to where the power

1y, with the Duma o r with the soviets. Eventua lly a prov isional par li amenta ry government of Left and Center pa rties eaded by Alexander Kerensky att empted to restore order. Kerensky soo n made the fa tal mista ke of a llying himse lf with the 1iddle class, a nd worse still , o f ass uring the allies that Russia wo uld not pull out o f the war.

July: Bolsheviks were still only one of several Socia list pa rties vying for power in the state. During "July Days", many emonstrating workers were gunned down by gove rnment forces .

A ugus1: Lenin secretly returned. co ined the slogan "A ll Power to the Soviets," a d irect a nswer to those who still pinned 1eir fa ith in a pa rlia mentary fo rm of government .

Oc!Oher: Bolsheviks were now the strongest of a ll the left ist pa rties. Lenin urged the pro letariat, the a rmy and the peasants J work together and "sei=e power." Kerensky's po licy was in sham bles: rei nstitution o f capita l punishment fo r desertion on 'Je fron t fa iled to prevent many army and navy units goi ng into open rebellion . . November: On the seventh. the Winter Pa lace in S t. Petersburg. Kerensky's headquarters. was seized by the revolutionary rmy and navy under Bo lshev ik directives . On the fo llowing afternoo n the First Congress o f Soviets. to which delega tes had een sent from a ll over Russia. was presented with the power they had long sought.

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