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The Role of Stanislavsky and the Moscow Art Theatre's 1923 And
CULTURAL EXCHANGE: THE ROLE OF STANISLAVSKY AND THE MOSCOW ART THEATRE’S 1923 AND1924 AMERICAN TOURS Cassandra M. Brooks, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Olga Velikanova, Major Professor Richard Golden, Committee Member Guy Chet, Committee Member Richard B. McCaslin, Chair of the Department of History Mark Wardell, Dean of the Toulouse Graduate School Brooks, Cassandra M. Cultural Exchange: The Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours. Master of Arts (History), August 2014, 105 pp., bibliography, 43 titles. The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge. -
Marina Davydova: Some Thoughts on Russian Theatre at the Turn of the Century
rtlb.ru russian theatre life in brief Marina DavyDova: Some ThoughTS on RuSSian Theatre aT The TuRn of The CenTuRy January 2008 White Dresses. “ouR pRoduCTionS aRe abSoluTely Safe.” The Russian theatre of the past decade has Throughout the nineties the Russian theatre been largely drawn into the orbit of the theatre existed in a distinctive kind of ghetto, making of Europe. Or it is rather the other way around – no attempts to digest aesthetically the rapidly European drama has turned out of the blue to changing reality: we are here all by ourselves, occupy the Russian theatre space to the effect all dressed in white, while the reality stinks of considerably changing the local theatrical and has nothing to do with us. Paradoxical as landscape. In terms of major theatrical forums it may sound, in the post-perestroika period Moscow has lately left far behind all the capi- we could claim to have Europe’s most asocial tals and mega cities of the world: the Chekhov public and theatre. In the Soviet times theatre Festival, the Territory, the NET, the Stanislavsky managed to substitute, no matter how clum- Season to mention just a few. In the context sily, for the civil society. But it clearly failed to of the current guest tour hullabaloo even the become an integral component of this spring- Golden Mask that is by definition (“national the- ing up new society that was offering a wider atre award and festival”) prescribed to cultivate range of freedoms. predominantly the national stage has scaled up The social and political affectation somehow to acquire the European dimension by bringing ran dry as the long-standing rules of play- along the productions of overseas dignitaries. -
A Conversation About Costume with Edward Gordon Craig, Léon Bakst, and Pablo Picasso Annie Holt Independent Scholar
Mime Journal Volume 26 Action, Scene, and Voice: 21st-Century Article 8 Dialogues with Edward Gordon Craig 2-28-2017 Speaking Looks: A Conversation About Costume With Edward Gordon Craig, Léon Bakst, And Pablo Picasso Annie Holt independent scholar Follow this and additional works at: http://scholarship.claremont.edu/mimejournal Part of the Dance Commons, Other Theatre and Performance Studies Commons, and the Theatre History Commons Recommended Citation Holt, Annie (2017) "Speaking Looks: A Conversation About Costume With Edward Gordon Craig, Léon Bakst, And Pablo Picasso," Mime Journal: Vol. 26, Article 8. DOI: 10.5642/mimejournal.20172601.08 Available at: http://scholarship.claremont.edu/mimejournal/vol26/iss1/8 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Mime Journal by an authorized editor of Scholarship @ Claremont. For more information, please contact [email protected]. ACTION, SCENE, AND VOICE: 21ST-CENTURY DIALOGUES WITH EDWARD GORDON CRAIG 46 scholarship.claremont.edu/mimejournal • Mime Journal February 2017. pp. 46–60. ISSN 2327–5650 online Speaking Looks: A Conversation about Costume with Edward Gordon Craig, Léon Bakst, and Pablo Picasso Annie Holt Edward Gordon Craig perceived a vast difference between his design work and the design of the famous Ballets Russeshe called the Ballets Russes designs “unimportant” and “trash.”1 Many early theater historians followed Craig’s lead in framing them as opposing schools of scenography, focusing on their differences in dimensionality. The Ballets Russes designers, made up almost exclusively of painters, are often considered “the gorgeous sunset of scene-painting” in the two-dimensional baroque tradition, typified by the painted canvas backdrop, whereas Craig’s “artist of the theatre” innovatively used three- dimensional objects such as architectural columns or stairs (Laver, “Continental Designers,” 20). -
Production Program
tHE Directed by Granada Artist-in-Residence Katya Kamotskaiaseagull This performance lasts two hours and 15 minutes, including one 15 minute intermission. Please be advised that this production contains brief loud noise and employs the use of synthetic fog and smoke. Before the performance begins, please note the exit closest to your seat. Kindly silence your cell phone, pager, and other electronic devices. Video, photographic or audio recording of this production is strictly prohibited by law. Food and drink are not permitted in the theatre. Thank you for your cooperation. Main Theatre March 10-14, 2010 ABOUT THE PLAY 101 years after The Seagull was first published in English, one may ask why direc- tors still choose to stage it and audiences to watch it! For me, the writing of Chekhov himself will never get old because its focus is on human beings and their complex and often contradictory nature. Detractors of the writer often criticize his work because ‘nothing happens,’ but it is this lack of exter- nal events and politics that for me makes it more or less timeless. Of course it has a specific location and period which bring their own set of rules and challenges, but fundamentally, the human characters are as relevant today as they were at the end of the 19th century. They are alive, with all the happiness and struggle, hope and pain that this entails. The play, The Seagull, tackles two core aspects of our humanity – those of creativity and love. It was written historically at a meeting of two generations of actors and writers in Russia – between the late 19th century theatre “of stereotypes and received ideas,” and the early 20th with its employment of psychological understanding in perfor- mance. -
Gordon Craig's Production of "Hamlet" at the Moscow Art Theatre Author(S): Kaoru Osanai and Andrew T
Gordon Craig's Production of "Hamlet" at the Moscow Art Theatre Author(s): Kaoru Osanai and Andrew T. Tsubaki Reviewed work(s): Source: Educational Theatre Journal, Vol. 20, No. 4 (Dec., 1968), pp. 586-593 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/3205002 . Accessed: 01/02/2013 18:58 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Educational Theatre Journal. http://www.jstor.org This content downloaded on Fri, 1 Feb 2013 18:58:37 PM All use subject to JSTOR Terms and Conditions THEATRE KAORU OSANAI ARRHIVES Gordon Craig's Production of Hamlet at the Moscowz Art Theatre Translated with an Introduction by ANDREW T. TSUBAKI The Hamlet production at the Moscow Art Theatre staged by Edward Gordon Craig and Konstantin Sergeivich Stanislavsky was without doubt one of the major works Craig left to us, and moreover was an important production in the history of modern theatre. Despite its significance, no substantial description of the production is available in English. A memoir prepared by Kaoru Osanai (i881-1928) fills this vital gap, providing helpful details which are much needed. -
A Man from Boulevard Des Capucines (1987) 6.30Pm Cine Alla Surikova
Melodia! Discovering Musicals From Russia and the Caucasus 22 January 2020 A Man from Boulevard des Capucines (1987) 6.30pm Cine Alla Surikova A Man from the Boulevard des Capucines (Russian: Chelovek s became one of the very few female directors of the comedy bulvara Kaputsinov) alludes directly to the Lumière brothers and genre to have a prominent voice in the Soviet film industry. their first cinema screening, famously projected onto the walls of a building in the Boulevard des Capucines in Paris in 1895. It The film itself stands on the crossroads of genre. On the one might be a surprising (and long) choice of title but this is a film side, it is an ‘eastern’ or ‘red western’ – a specifically cold war of surprises. After all, this 1987 Soviet musical is both a loving genre presenting films set in America's Wild West, but shot in homage to the birth of cinema and also one final ray of light the Asian part of the Soviet Union, or films presenting these from a golden age of Soviet musical comedy. parts of the Soviet Union through the aesthetics of a western. On the other hand, the film draws from the already established The connection to the Lumières comes about through the tradition of Soviet comedies, especially fantasy musical speech of protagonist Mr. John First (Johnny) played by the comedies, such as Ordinary Miracle (1978, also starring Andrei Soviet theatre and film star Andrei Mironov. Mironov, one of the Mironov) or Charodei (1982; which shares the female lead great Soviet stars, died the same year, making this his Aleksandra Yakovleva); and a broader tradition of allegorical penultimate film role. -
Cinema of the Thaw (1953 – 1967)
W&M ScholarWorks Arts & Sciences Book Chapters Arts and Sciences 11-15-2013 Cinema of the Thaw (1953 – 1967) Alexander V. Prokhorov College of William & Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/asbookchapters Part of the Film and Media Studies Commons, Modern Languages Commons, and the Slavic Languages and Societies Commons Recommended Citation Prokhorov, A. V. (2013). Cinema of the Thaw (1953 – 1967). Rimgaila Salys (Ed.), The Russian Cinema Reader: Volume II, The Thaw to the Present (pp. 14-33). Academic Studies Press. https://scholarworks.wm.edu/asbookchapters/86 This Book Chapter is brought to you for free and open access by the Arts and Sciences at W&M ScholarWorks. It has been accepted for inclusion in Arts & Sciences Book Chapters by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. C I N E M A O f THE THAW 1953–1967 Alexander Prokhorov Ironically, the era named the Cold War by the West, Russians titled the Thaw. The Russian name of the period comes from the title of Il’ia Ehrenburg’s 1954 novel, the publication of which signaled a change in Soviet cultural politics after Stalin’s death. In 1956, Nikita Khrushchev denounced the cult of Stalin in his Secret Speech at the Twentieth Party Congress. Because literature served Soviet culture as its most authoritative form of artistic production—and the most informed of new directions the Party was adopting—changes in literature translated into new cultural policies in other art forms. Cinema was by no means the first to experience the cultural Thaw, both because film production required a greater investment of time and resources and because, despite Vladimir Lenin’s famous dictum that cinema was “the most important of all arts,” film art stood below literature in the hierarchy of Soviet arts. -
Russkiy Mir Foundation and Rossotrudnichestvo—Are Based in Russia but Can Have Numerous Branches in the EU
The Bear in Sheep`s Clothing This paper sheds light on organisations operating in Europe that are funded by the Russian government, whether officially or unofficially. These include government-organised non-governmental organisations (GONGOs), non- The Bear in governmental organisations (NGOs) and think tanks. Their goal is to shift European public opinion towards a positive view of Russian politics and policies, and towards respect for its great power ambitions. In light of Russia’s annexation Sheep’s Clothing of Crimea and Russian aggression in Eastern Ukraine, the overt or covert support for these organisations must become a matter of concern to the EU. Russia’s Government-Funded Vladislava Vojtíšková, Vít Novotný, Hubertus Schmid-Schmidsfelden and Kristina Potapova Vladislava Vojtíšková, Organisations in the EU The EU’s politicians and citizens should look at the activities of the Russian GONGOs and think tanks as challenges that can help improve national and Vladislava Vojtíšková, Vít Novotný, EU-level decision-making mechanisms, increase transparency in policymaking Hubertus Schmid-Schmidsfelden and Kristina Potapova and deepen the involvement of citizens and civil society organisations in the democratic process. The paper recommends, among other measures, fostering the EU’s own narrative, which is based on human rights, freedom and equality; supporting pro-democratic civil society so that Europeans become more resistant to Russian propaganda; and increasing transparency requirements for NGOs and lobbyists by setting up a mandatory lobbying register at the EU level. The Bear in Sheep’s Clothing Russia’s Government-Funded Organisations in the EU Vladislava Vojtíšková, Vít Novotný, Hubertus Schmid-Schmidsfelden and Kristina Potapova Credits Wilfried Martens Centre for European Studies Rue du Commerce 20 Brussels, BE - 1000 The Wilfried Martens Centre for European Studies is the political foundation and think tank of the European People’s Party (EPP), dedicated to the promotion of Christian Democrat, conservative and like-minded political values. -
Mikhail Pletnev Peter Ilyich Tchaikovsky (1840-1893) “A Step Forward”
Peter Ilyich Tchaikovsky SYMPHONY NO.3IN D MAJOR, OP.29 CORONATION MARCH RUSSIAN NATIONAL ORCHESTRA Mikhail Pletnev Peter Ilyich Tchaikovsky (1840-1893) “A step forward” Symphony No. 3 in D Major Op. 29 (1875) owadays, Tchaikovsky’s first three symphonies seldom appear on more reminiscent of the Russian character. In the fourth movement 1 Introduzione e Allegro – Moderato assai the concert programmes, whereas his symphonies four to six – in Tchaikovsky conjures up a fairy-like Scherzo (in 2/4 time), which is at (Tempo di marcia funebre)-Allegro brillante 13. 58 N other words, the symphonies generally recognized as masterpieces – are times evocative of Mendelssohn. And the finale, with its “Tempo di 2 Alla tedesca – Allegro moderato e semplice 6. 25 3 Andante – Andante elegiac 10. 55 regularly included. And thus the three early symphonies share a fate polacca” (to which the work owes its unofficial title of Polish, following a 4 Scherzo – Allegro vivo 5. 45 that none of them have necessarily earned. After all, each in its own performance in London under Sir August Manns), is a spirited rondo in 5 Finale – Allegro con fuoco (tempo di Polacca)-Presto 8. 55 individual way is a worthwhile symphony: the composer certainly did which the polonaise leads the entire work to a tumultuous conclusion. not consider them to be preliminary works, a type of precursor to the Both this final movement and the first movement include contrapuntal 6 Coronation March (1883) 5. 46 later symphonies. From 1866 to 1878, Tchaikovsky taught harmony at the techniques, as if Tchaikovsky was attempting to provide the “suite” with Russian National Orchestra Moscow Conservatoire and during this period, he composed – among greater symphonic weight. -
11Th Annual of the Trebbia European Awards and Benefi T Cheques Trebbia on March 13Th, 2011
The Gala Evening was held under the auspices of Miroslava Němcová, Chairwoman of the Chamber culture event of Deputies of the Parliament of the Czech Republic and Jiří Besser, Minister of Culture of the Czech Republic. IN COOPERATION WITH LEADERS MAGAZINE The Municipal House, Prague th 11 Annual of the Trebbia European Awards and Benefi t Cheques Trebbia on March 13th, 2011 From left: Jan Černý, Director, A-Keramika Group, Prague From left: Daniel Dvořák, Scenographer and Director, Region, Sergey B. Kyselev, Ambassador of the Russian Fe- National Theatre in Brno and Michael W. Pospíšil, deration, MUDr. Jiří Besser, Minister of Culture, and Oleg General Director, Czech Centres (Laureate of Trebbia Tabakov, (Russia) Actor and Laureate of Trebbia Award 2011 Award 2011) Eliška Coolidge-Hašková, former Assistant to five American presidents and Member of INC Trebbia during the Laudatio speech From left: Klaus von Trotha, former Minister of Culture From left: Jiří Menzel, Film Director, Marcela Mojtová, of Baden-Württemberg and Jan Světlík, Chairman of Vice Chairwoman of the Board, EUROKIM a.s., Brati- 2 the Board and General Director, Vítkovice Holding and slava, and János Bán, (Hungary) Actor and Laureate of Laureate of Trebbia Award 2011 Trebbia Award 2011 Trebbia.indd 2 21.3.2011 10:44:56 From left: MUDr. Jiří Besser, Minister of Culture, Mgr. Bc. Jiří Besser, Lawyer, Weil, Gotshal & Manges s.r.o., PhDr. MgA. Miro Smolák, Founder, Trebbia, and Miroslava Němcová, From left: Ing. Radomír Šimek, President, DTIHK – JUDr. Aleš Janků, Managing Director, Chairwoman, Chamber of Deputies of the Parliament ČNOPK with his wife and Dr. -
THE THEATRE the Russian Theatre Represents Various Forms of the Western Theatre with Something of Its Own Besides
CHAPTER VIII THE THEATRE THE Russian theatre represents various forms of the Western theatre with something of its own besides. The conventional theatre and the progressive theatre, crude The Theatre. melodrama and the finest symbolism are all here. There is dull aping of Western fashions, and there is also an extraordinary acute sense of the theatre as a problem. The problem is stated and faced with characteristic Russian frankness and thoroughness. The remotest possibilities of dramatic art are taken into con- sideration, including the possibility that the theatre in its present form may have outlived its time and Should be superseded. Western plays and players quickly find their way to Russia and, indeed, translated plays constitute the bull< of the Russian theatrical rkpertoire. All kinds of Western innovations are eagerly discussed and readily adopted, and at the same time in various odd corners in the capitals stale and obsolete theatrical forms stubbornly hold their own. Both the best and the worst sides of the theatre are to be found in Russia. The dullness and shallowness of theatrical routine are most obviously and oppressingly dull and shallow. But over against this is the openness of mind, the keenness of intelligence, the energy and persistence in inquiry and experiment that place the Russian theatre in the vanguard of the modern theatrical movement. And the progressive spirit is steadily gaining ground ; theatrical conventionalism is losing its self-confidence, is beginning to doubt of itself. There are no fixed new standards, except that things must be done as well and intelligently as possible, and the old standards are drifting into oblivion. -
Jewishness: Expression, Identity, and Representation Offprint
LITJCS001prelspi-xiv 25.03.2008 09:58am Page iii Jewish Cultural Studies volume one Jewishness: Expression, Identity, and Representation Edited by SIMON J. BRONNER Offprint Oxford . Portland, Oregon The Littman Library of Jewish Civilization 2008 LITJCS07p175-194 28.01.2008 08:12pm Page 175 seven Ambivalence and Identity in Russian Jewish Cinema olga gershenson ‘The Jew is ambivalence incarnate.’ zygmunt bauman Historically, the representation of Jews in Soviet national cinema (when and where it has been allowed) has been a litmus test for the Jewish position in Rus- sian culture. Jews have been variously, and paradoxically, stereotyped: they could simultaneously symbolize backwardness (as ignorant shtetl dwellers) or progres- siveness (as the learned ‘people of the book’); they could stand for emasculated weakness (as victims of pogroms and genocide) or virile leadership (as rabbis or commissars); they could be seen, in short, as heroes or anti-heroes (Bartov 2005). For scholars of contemporary Jewish cultures, film therefore provides eloquent material for research on identities and their construction and reconstruction. According to Stuart Hall (1990), cinema is a potent medium in which identities are produced. Rather than being a ‘second-order mirror held up to reflect what already exists’, it is ‘a form of representation which is able to constitute us as new kinds of subjects, and thereby enable us to discover places from which to speak’ (1990: 236–7). Moreover, because of their profound influence on society and cul- ture, films constitute a source of the visual memory transmitted to future genera- tions (Portuges 2005). Taking these formulations as a starting point, I will approach the subject of Russian Jewish identity by studying representations of Jews in Russian national cinema.