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Dixon, Ros (2003) from Iconoclast to Traditionalist : a Study of Anatolii Efros's Productions of Chekhov, Gogol and Turgenev

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Dixon, Ros (2003) from Iconoclast to Traditionalist : a Study of Anatolii Efros's Productions of Chekhov, Gogol and Turgenev Dixon, Ros (2003) From iconoclast to traditionalist : a study of Anatolii Efros's productions of Chekhov, Gogol and Turgenev. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11232/1/288087.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] 'From Iconoclast to Traditionalist: A Study of Anatolii Efros's Productions of Chekhov, Gogol and Turgenev. ' by Ros Dixon, M. Litt. Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy, October 2002 ýpTTINQ Acknowledgments First I should like to thank my supervisor Dr. Cynthia Marsh for her excellent guidance and consistent support, and the University of Nottingham for awarding me a three-year studentship and the Harold Howitt Travelling Scholarship. In Nottingham I owe also a debt of gratitude to Dr. Wendy Rosslyn, ProfessorLesley Milne and Irina Shlumukov. In Moscow I should like to thank the theatre critic Marianna Stroeva; the actors, Lev Durov, Nikolai Grachov, Viktor Lakirev, Nikolai Volkov; the director, Anatolii Ivanov; the playwright Edvard Radzinskii; Liudmilla and Vitalii Berekov; the staff of the State Theatre Library, of The Russian State Archives of Literature and Art and of the United City Archives. I am grateful to many people for their assistance and advice, and should like to acknowledge in particular Dr. Birgit Beumers, Dr. Sarah Smyth, Gary Cawthorne for his specialist knowledge of musicology, and Rick Dowling for his expertise in Macintosh computers; my colleagues at the National University of Ireland, Galway, Professor Kevin Barry, Professor Hubert McDermott, and especially Dr. Adrian Frazier and Cliona Carney. I should like also to thank the Funding Committee of BASSES for providing me with funds to conduct my research in Moscow. My brother Terry Dixon provided invaluable assistance in tracing American sources on Efros; I also owe a debt of thanks to Louise Burt at the Guthrie Theatre in Minneapolis, and to the staff of The New York Public Library. I am indebted to the sage good humour of my sister Corinna and brother-in-law Michael, and to the encouragement of friends, in particular Alex Harrington, Sarah Young, Anne Elliott and Siobhän Miley. This thesis is dedicated to my parents, Sylvia and Victor Dixon, without whose untiring love and support it could not have been written. Contents Preliminary Notes 1-8 Introduction 9-17 Chapter 1: Introduction to the Life and Career of Anatolii Efros 18-81 Chapter 2: The Seagull (1966) 82-110 Chapter 3: Three Sisters (1967) 111-140 Chapter 4: Marriage (1975) 141-181 Chapter 5: The Cherry Orchard (1975) 182-225 Chapter 6: A Month in the Country (1977) 226-256 Chapter 7: Road (1980) 257-274 Chapter 8: Three Sisters (1982) 275-297 Conclusion 298-305 Appendix 1: Systems of Censorship and the Organisation of Soviet Theatres 306-310 Appendix 2: Efros's Productions on Stage, Television, Screen and Radio 311-317 Bibliography 318-352 Abstract Between 1951 and 1987 the Russian director Anatolii Efros created seventy- four stage productions, thirteen television films, four feature films and four radio plays. His work made a significant contribution to the development of Russian theatre in the twentieth century, but has received no comprehensive study in Russian or English. This thesis provides an overview of his career but concentrates on a central aspect: his response to the Russian classic canon. It analyses in depth seven productions created in Moscow over some fifteen years. These are discussed in the context of his reaction to their performance history and as a reflection both of changing political circumstances and of his own character and development. His response is shown to have evolved from radical, overtly contemporary, iconoclastic re-interpretation towards a greater indebtedness to tradition and in particular to the legacy of Stanislavsky. His productions of Chekhov's The Seagull (1966) and Three Sisters (1967) were daring assertions of artistic independence. They were condemned and banned both as irreverent attacks on the sacrosanct style of the Moscow Art Theatre and for their overfly political implications. In 1975, Gogol's Marriage and Chekhov's The Cherry Orchard, though innovative, were less controversial; though they too reflected contemporary concerns, their messages were more muted. Turgenev's A Month in the Country in 1977 marked the beginnings of the change in his approach, and this became increasingly apparent in the 1980s. At the beginning of a period of irrevocable socio-political change, the Soviet theatre was in crisis, and Efros himself had serious problems, prompted in part by criticism of Road (an adaptation of Gogol's Dead Souls) in 1980. His second staging of Three Sisters in 1982 was characterised by a reassessment of his earlier ideas and an increasing concern for historical continuity. Preliminary Notes 2 1) Sources in Russia for published materials (books, journals and newspaper reviews) include: the State Theatre Library, the Russian State Library (formerly The Lenin Library) and the State Historical Library. Sources outside Russia: New York Public Library, the British Library, the Hallward Library at the University of Nottingham, the Berkeley, Ussher and Lecky Libraries in Trinity College, Dublin University, and the Library of the National University of Ireland, Galway. 2) Archive sourcesare as follows: The Russian State Archive of Literature and Art (RGALI), Fond 2079, section 3, and Fond 2453, sections 4 and 5. The United City Archives (MGOA), Fond 429, sections 1 and 2. In the footnotesunpublished material takenfrom thesearchive resourcesis cited in the following way: Title of document, (e.g. Transcript of a meeting of the Artistic Committee), MGOA, F. 429, op. 1, del. 796. In this F. ='Do q (Fond/Archive), op. = ormcb (list/collection), and del. = Reno (file). These archives house a wide variety of unpublished material such as: official documentation on the decisions made by the state in relation to theatre productions, including those of the censorship board; correspondence between Efros and the officials of the Ministry of Culture; letters and telegrams to and from Efros; transcripts of meetings at the Lenkom dating from the time of Efros's dismissal; Efros's director's scripts with illustrations for some of his 3 films; his final year dissertation work for GITIS; transcripts of speeches; photographs from productions. 3) Visual Material. The archives of the Bakhrushin Theatre Museum provided photographs of Efros's productions and unpublished material that originally formed part of an exhibition on his work displayed at the museum in 1993. In addition I have used a video produced in 1983 of Efros's production of Turgenev's A Month in Country, and on several occasions in the 1990s I saw revivals of his productions of Marriage and Don Juan at the Malaia Bronnaia and of Napoleon I at the Maiakovskii. 4) Taped interviews on their recollections of Efros's work were provided by the following: the actors Lev Durov, Nikolai Grachov, Viktor Lakirev and Nikolai Volkov; the director Anatolii Ivanov; the playwright Edvard Radzinskii; the critic Marianna Stroeva. 5) Other unpublished source: Marianna Stroeva, 'Anatolii Efros: molodost", (Unpublished chapter, Moscow, no date), pp. 270-387, cited here with permissionof the author. The transliterationsystem of the Library of Congresshas beenused throughout. There are however some namesof persons,plays and theatreswhich may now be deemedto have beenstandardised in English accordingto a different system; in these instances (in the main text) the standardised form is used. These include: Chaliapin, Dostoevsky, Gogol, Maxim Gorky, Maly, Meyerhold, 4 Mussorgsky, Nevsky, Stanislavsky, Rimsky-Korsakov, Tallinn, Tchaikovsky, Tolstoy, Vanya, Yalta. In footnoted references, however, spellings like Gogol', Meierkhol'd and Stanislavskii are used. Russia's second city is named St. Petersburg, Leningrad and Petrograd in accordancewith its appellation at the date in question, e.g. St. Petersburg in referenceto Aleksandrinskii theatre,but Leningrad in referenceto the Bolshoi Dramaticheskii. On some occasions works are cited which have been translated into English by authors who
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