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Abramtsevo Circle, –, – Agitprop (agitational propaganda) groups, xi, Private Opera Theatre and, – Stanislavsky on, – Abramtsevo commune Aleksandrov, Nikolay, – collective goals of, Alekseyev, Georgy, cross-arts explorations in, x Alekseyev, Konstantin. See Stanislavsky, Mamontov and, – Konstantin Stanislavsky at, Alekseyev, Sergey, – acting. See also System of acting Alekseyev, Vladimir, – analogous, Alekseyev Circle, – as noble profession, All-Russian Theatre Association, Acting: The First Six Lessons (Boleslavsky), American Laboratory Theatre, active analysis, – Andreyev, Leonid, , , , restrictions on, Andreyev, Nikolay, actors. See also System of acting Andreyeva, Maria, – co-creativity with directors, , –, Antarova, Konkordiya, –, – discipline for, anthroposophists, – in First Studio, First Studio and, – inert, – yoga and, in MAT, – Antoine, André, , – method of physical action, –, –, Théâtre Libre, –, , The Armoured Train - (Ivanov), , obligations of, – art. See also System of acting; specific topics passive, – cross-arts explorations, in Abramtsevo stage creativity of, commune, x Stanislavsky as, –, , , –, , Stanislavsky on, – , Tolstoy, Lev, on, – in theatre of emotional experiencing, World of Art, x – Association of Friends of the Studio, An Actor’s Work on a Role (Stanislavsky), – audiences, for theatre An Actor’s Work on Himself, Part One ensemble theatre and, relationship with, (Stanislavsky), –, , , in US, Stanislavsky on, – English translation of, , – The Avenger (Pletnev), An Actor’s Work on Himself, Part Two (Stanislavsky), –, , , Babanin, Konstantin, English translation of, , – Bakhrushin, Aleksey, actor-singers, at Bolshoy Opera Studio, Bakhtin, Mikhaïl, – Adashev, A. I., Bakst, Leon, Adashev School, – Baliyev, Nikita, , – Adler, Stella, Balladina (Slowacki), ‘advocates of the people.’ See narodniki ballet masters, at Bolshoy Opera Studio, – affective memory, – Ballets Russes, x,
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Barba, Eugenio, The Burning Letters (Gnedich), – The Barber of Seville (Rossini), –, Butusov, Yury, , – Barca, Calderon de la, Byron, George Gordon (Lord), –, – Barker, Harley Granville, Bartoshevich, Alexei, cabbage party. See kapustnik The Bat cabaret, – Cain (Byron), –, – Batalov, Nikolay, – throughaction in, – The Bathhouse (Mayakovsky), Carnicke, Sharon Marie, –, Beaumarchais, Pierre, – Castorf, Frank, Beaumont, Francis, – Chagall, Marc, Benedetti, Jean, , , Chaliapin, Fyodor, , translation of Stanislavsky’s works, , – Art Theatre and, x–xi, –, –, Benois, Aleksandr, , , Cheban, Aleksandr, Berger, Henning, – Chekhov, Anton, , –, , , – Bernhardt, Sarah, – Stanislavsky and Bessalko, Pavel, musicality and, – Biagini, Mario, production scores by Stanislavsky and, Bill-Belotserkovsky, V. N., – biomechanics, works directed by Stanislavsky and, Birman, Serafima, xi, , , , –, , – –, , Chekhov, Mikhaïl, xi, , , –, Blair, Rhonda, –, , , –, , , Blake, William, – Blok, Aleksandr, – artistic legacy of, – ‘Bloody Sunday,’ psychological gesture theory of, The Blue Bird (Maeterlinck), – Chepurov, Aleksandr, Blue Blouse theatre groups, xi, , – Cherevichki (Tchaikovsky), Blyum, Vladimir, The Cherry Orchard (Chekhov, Anton), –, Bogdanov, Aleksandr, – – Boleslavsky, Richard, –, –, Chesnokov, Pavel, Bolsheviks, – Children of the Sun (Gorky), , , , Bolshoy Opera Studio, , – – actor-singers at, Children’s Theatre, , architectural limitations of, Chronegk, Ludwig, – Association of Friends of the Studio and, Civil War, in Russia, , – ballet masters at, – Clark, Katerina, – First Studio and, Claudel, Paul, musical tradition in, – collective creation, through ensemble theatre, Opera-Dramatic Studio transition from, collective creativity, through ensemble theatre, teachers at, – Bolshoy Theatre, Communist Party after October Revolution, criticism of Meyerhold, – Borovsky, Victor, – MAT and, Bourdieu, Pierre, newspapers controlled by, on conductorless orchestra, conductorless orchestra, as metaphor, bourgeois culture, Constructivism, , –, –, , , Boyd, Michael, Copeau, Jacques, , – Brahm, Otto, Coquelin, Constant, Brecht, Bertolt, , , –, Cormon, Eugène, – The Bricklayer (Bessalko), Craig, Edward Gordon, –, , , , Brook, Peter, , , –, – – brutalism, creation. See collective creation Bruysov, Valery, – creativity. See collective creativity Bulgakov, Mikhaïl, –, –, – The Cricket on the Hearth (Dickens), –, Burdzhalov, Georgy, –. See also Fourth Studio Crommelynck, Fernand, ,
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D. E. (Podgayetsky), Dukhobors (‘spirit wrestlers’), – The Dawn (Verhaeren), Dullin, Charles, – The Days of the Turbins (Bulgakov), –, – Duma, establishment of, Dead Souls (Gogol), – Duncan, Isadora, xi, , –, –, , The Death of Ivan the Terrible (Tolstoy, Aleksey), , Duras, Marguerite, Decroux, Étienne, – Durasova, Maria, – The Deluge (Berger), – Duse, Eleonora, Demidov, Nikolay, xi, , –, , , , , Earth Rampant (Tretyakov, Sergey), d’Ennery, Adolphe, – Edwards, Christine, – Deutsches Theater, Efros, Anatoly, –, Deykun, Lidiya, xi, , – Efros, Nikolay, , Diaghilev, Sergey, – Eidinger, Lars, Ballets Russes, x, Eisenstein, Sergey, – Stanislavsky and, Eliade, Mircea, World of Art, x Elizabeth I (Empress), – Dickens, Charles, –, , emotional experiencing. See theatre of emotional directors, – experiencing co-creativity with actors, , –, An Enemy of the People (Ibsen), – definition of, – ensemble theatre development traditions for, – audience relationship with, at MAT, – collective creation through, Meyerhold as, – collective creativity through, Nemirovich-Danchenko as, – framework for, – with Stanislavsky, – MAT as, – result director, mission of, – role in artistic process, – permanence of ensemble as element of, root director, Nemirovich-Danchenko on, Stanislavsky as, –. See also Chekhov, organic processes of, Anton; Gorky, Maksim; Shakespeare, Pushkino and, William as repertory company, of A Mad Day or The Marriage of Figaro, Stanislavsky as influence on, – – star system as distinct from, with Nemirovich-Danchenko, – System of acting in, – realism for, – as ‘theatre-church,’ – of The Sunken Bell, – under USSR regime, – of Uriel Costa, – as Utopian community, – discipline, – ‘epic theatre,’ for actors, Erdman, Nikolay, , – in System of acting, – Erik XIV (Strindberg), , types of, ethics, – The Divine Image (Blake), disruptions of, The Divine Poem (Scriabin), in System of acting, –, The Doctor in Spite of Himself (Molière), etudes, in System of acting, –, , , , Doctor Stockman (Ibsen), – , , , , , , Dodin, Lev, x, , , , , , –, eurhythmics, , –, , , –, – Evreinov, Nikolay, – Don Pasquale (Donizetti), – Donizetti, Gaetano, – The Fairground Booth (Blok), Donnellan, Declan, – ‘fantastic realism,’ Dostoyevsky, Fyodor, , , of Vakhtangov, The Drama of Life (Hamsun), , Fedotov, Aleksandr, – A Dream of Passion (Strasberg), Fedotov, Glikeria, , Dréville, Valérie, The Festival of Peace (Hauptmann), –
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The Fiery Angel (Bruysov), – The Government Inspector (Gogol), , – Figes, Orlando, Granovsky, Aleksandr, – First Five Year Plan, under Stalin, , The Green Circle (Gippius), – First Studio, xi, , – Griboyedov Drama Studio, – actor’s creativity in, Grotowski, Jerzy, , , – Adashev School and, – Group Theatre, anthroposophists and, – Gurevich, Lyubov, , – Bolshoy Opera Studio and, Gutskow, Karl, – greater than national importance of, gymnastic theatre, – MAAT and, – student training at, – Habima theatre, System of acting in, – habitus, , –, , –, timeline for, Hall, Peter, – as Utopian community, – Hamlet (Shakespeare), , – yoga and, – Hamsun, Knut, , Fitzpatrick, Sheila, Hanako, Flight (Bulgakov), , , Hapgood, Elizabeth Reynolds, – Fokin, Valery, Hauptmann, Gerhart, –, – Fomenko, Pyotr, Hejermans, Herman, – The Forest (Ostrovsky), Hellerau, , Forsythe, William, Hesychasm, Fourth Studio, , – Hisa, Ota, formation of, – ‘holy theatre,’ political mission of, Hosking, Geoffrey, theatrical objectives of, – human spirit, Stanislavsky on, –, , , , The Fruits of Enlightenment (Tolstoy, Lev), xi, , , –, , –, , , , , Fuller, Loïe, ‘I am.’ See ‘ya yesm’ Ibsen, Henrik, , , – Galendeyev, Valery, – immediate action, – Gandhi, Mahatma, Imperial Theatres. See also state theatres Gas Masks (Tretyakov, Sergey), Bolshoy Theatre, Gates, Helmar, censors in, – Gémier, Firmin, cultural influence of, – Gest, Morris, Maly Theatre, Geytts, Mikhaïl, – monopoly of, abolishment of, Giatsintova, Sofya, xi, , – star system in, Gippius, Zinaïda, – improvisation, – Gnedich, Pyotr, – individuality, as distinct from individualism, Gogol, Nikolai, , –, – – The Golden Cockerel (Rimsky-Korsakov), – inert actors, – Goldoni, Carlo, The Internationale (anthem), Golovin, Aleksandr, xiii, , –, , –, Israfilov, Israfil, Israfilov, Rifkat, Golubkina, Anna, , Ivanov, Vsevolod, , Gorchakov, Nikolay, , Gorky, Maksim James, William, Children of the Sun, , , , Jaques-Dalcroze, Émile, , – – The Lower Depths, –, , , –, K. S. Stanislavsky’s Teachings on the Word on the – Stage (Galendeyev), The Petty Bourgeois, Kachalov, Vasily, , , – Stanislavsky and, works directed by Kamerny Theatre, – musicality of, – Kandinsky, Vasily, production scores by, – Kantor, Tadeusz,
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kapustnik (cabbage party), Lugné-Poe, Aurélien-Marie, Karbauskis, Mindaugas, Lunacharsky, Anatoly, , –, – Kedrov, Mikhaïl, , , , Commisariat of Enlightenment, , Kerzhentsev, Platon, , –, – nationalization of theatres and, – Khalutina, Svetlana, – Luzhsky, Vasily, , –. See also Khlebnikov, Velimir, Fourth Studio Khmelyov, Nikolay, Lyddiard, Alan, The King of the Dark Chamber (Tagore), Lynch, James, – Lyubimov, Yury, Knebel, Maria, xi, , , , at Opera-Dramatic Studio, , , – MAAT. See Second Moscow Art Theatre Knipper-Chekhova, Olga, , , – A Mad Day or The Marriage of Figaro Kogan, Sam, (Beaumarchais), – Komisarjevsky, Theodore, , –, throughaction in, Komissarzhevskaya, Vera, – Maeterlinck, Maurice, , –, Komissarzhevsky, Fyodor, ‘magic realism.’ See ‘fantastic realism’ kommunalka (small communal apartment), – The Magnanimous Cuckold (Crommelynck), Komsomol (Communist Youth) theatre groups, , – The Maid from Pskov (Rimsky-Korsakov), – Korovin, Konstantin, Malaev-Babel, Andrei, Korsunovas, Oskaras, – Malaya Bronnaya Theatre, Krasner, David, Malevich, Kasimir, , , –, , Krechetova, Rima, , Malochevskaya, Irina, Kristi, Grigory, , , –, –, Maly Drama Theatre (MDT, St. Petersburg), Kruchenykh, Aleksey, –, – Maly Theatre (Moscow), laboratory (laboratory-studio), –, , –, Mamontov, Savva, x, –. See also Private , , –, –, , , – Opera Theatre Lady Macbeth of the Mtensk District Stanislavsky mentored by, – (Shostakovich), The Mandate (Erdman), Lake Lyul (Fayko), Mardzhanov, Konstantin, – The Lamentations of Jeremiah (The Bible), Markov, Pavel, – Massalitinov, Nikolay, – Leblanc, Georgette, Massenet, Jules, LeCompte, Elizabeth, MAT. See Moscow Art Theatre Lecoq, Jacques, – Matyushin, Mikhaïl, LEF journal, Maudsley, Henry, Lenin, Vladimir. See also Russia, post- A May Night (Rimsky-Korsakov), Revolutionary period Mayakovsky, Vladimir, , , , nationalization of theatres under, – Mchedelov, Vakhtang, –. See also Second NEP period under, Studio Leonidov, Leonid, , –, –, MDT. See Maly Drama Theatre Leskov, Nikolay, Medea-material (Mu¨ller), Levitan, Isaac, , , Meisner, Sanford, Lieutenant Yegunov’s Story (Turgenev), The Merchants of Glory (Pagnol and Nivoix), Lieven, Dominic, – The Life of Man (Andreyev, Leonid), , , Merlin, Bella, The Merry Wives of Windsor (opera) (Nicolai), Lilina, Maria, , – Limanowski, Mieczyslaw, – metaphysics, of Silver Age, – Literature and Revolution (Trotsky), anthroposophists, – Litovtseva, Nina, , First Studio and, – Littlewood, Joan, – yoga and, The Lower Depths (Gorky), –, , , literary genres during, – –, – Rasputinites,
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metaphysics, of Silver Age (cont.) Second Studio merger with, – Symbolists, , – as socially inclusive, – theosophists, stage structure of, method of physical action, immediate action, under Stalin, from -, – – political attacks against, – Meyerhold, Vsevolod, , – socio-political plays, – biomechanics, , , –, , studio affiliations with, xi–xii Blue Blouse groups and, – Opera-Dramatic Studio, xi–xii, – Communist Party criticism of, – Povarskaya Studio, xi–xii, , , , , Constructivism and, – as director, – Tolstoy, Lev, and, – gymnastic theatre of, – TRAM as opponent of, xi during October Revolution, Moskvin, Ivan, Proletkult and, Mu¨ller, Heiner, public influence of, – Munk, Erika, – Stanislavsky’s friendship with, xi, , – Muratova, Yelena, theatrical theatre of, – My Life in Art (Stanislavsky), –, –, , – The Miracle of St. Anthony (Maeterlinck), English translation of, – The Mistress of the Inn (Goldoni), Mystery-Bouffe (Mayakovsky), , Mitchell, Katie, – Mnouchkine, Ariane, , narodniki (‘advocates of the people’), , – Théâtre du Soleil, , , Nekrasov, Nikolay, Molière, Nekrosius, Eimuntas, Molière (A Cabal of Hypocrites) (Bulgakov), – Nemirovich-Danchenko, Vladimir, x–xi, , A Month in the Country (Turgenev), –, –. See also Moscow Art Theatre –, – as director, – monumentalism, with Stanislavsky, – Morozov, Savva, , on ensemble theatre, . See also ensemble Moscow Art Theatre (MAT), x–xi theatre accessibility of, – Nepmen, – actors in, – New Economic Policy (NEP), Agitprop as opponent of, xi eradication of, as apolitical, Nicholas II (Tsar), artistic crisis within, Nicolai, Otto, – artistic mission of, – Nivoix, Paul, – audience relationship with, No Way Out (Leskov), dissatisfied audiences, – Novitskaya, Lidiya, , – ‘Bloody Sunday’ and, Nunn, Trevor, Blue Blouse groups as opponents of, xi Communist Party and, October Revolution, x directors at, – Bolshoy Theatre after, as ensemble theatre, –. See also ensemble Imperial Theatres after, theatre Maly Theatre after, European tour of, – MAT during, – individuality as distinct from individualism in, The Storming of the Winter Palace, –, – Old Believer Orthodoxy, xi, MAAT, – Old Believers, –, nationalization of, – Opera-Dramatic Studio, xi–xii, – as Academic Theatre, active analysis in, – during October Revolution, – restrictions on, in Prague, Bolshoy Opera Theatre transition to, Proletkult as opponent of, xi creative process in, for musical composition, promotion of, rejection of politics, xi growth years for, – restructuring of, Knebel at, , –
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method of physical action in, – Radishcheva, Olga, –, immediate action, – Radlov, Sergey, – throughaction, Rasputinites, word action, – raznochintsy, System of acting and, – realism. See also ‘fantastic realism’; timeline for, ‘socialist realism’ works performed at, –, – for Stanislavsky, – Ormerod, Nick, Reinhardt, Max, , Orthodoxy, of Stanislavsky, , –, , – Réjane, Ostermeier, Thomas, –, –, – repertory companies, ensemble theatre as, Osterwa, Juliusz, – Repin, Ilya, –, Ostrovsky, Aleksandr, , , representation. See theatre of representation Othello (Shakespeare), – result director, Ribot, Théodule, Pagnol, Marcel, – Richards, Thomas, passive actors, – Rimsky-Korsakov, Nikolay, –, , , – Perceval, Luk, – The Rite of Spring, Peter the Great, – Rodchenko, Aleksandr, – The Petty Bourgeois (Gorky), Rodin, Auguste, The Phantom Lady (Calderon de la Barca), Roerich, Nikolay, Philosophy of the Unconscious (von Hartmann), Roerich, Yelena, Roksanova, Maria, The Pillars of Society (Ibsen), Romeo and Juliet (Shakespeare), – Piscator, Erwin, root directors, Pletnev, Valerian, Rosmersholm (Ibsen), Podgorny, Nikolay, – Rossi, Ernesto, Poem of Ecstasy (Scriabin), Rossini, Gioachino, –, Polenov, Vasily, – Rudnitsky, Konstantin, , – Polenova, Yelena, – Rumyantsev, Pavel, , Popov, Aleksey, Russia. See also Union of Soviet Socialist Popova, Lyubov, – Republics Povarskaya Studio, xi–xii, , , , , Civil War in, , – The Powers of Darkness (Tolstoy, Lev), proletarian insurrections in, – Princess Turandot (Gozzi), – tsarist era Private Opera Theatre, x, – demise of, Abramtsevo Circle and, – Duma established after, project-based theatre, Russia, post-Revolutionary period. See also Union Proletkult (Proletarian Culture), xi, – of Soviet Socialist Republics class definitions and, Bolsheviks in, – founding of, – bourgeois culture during, Meyerhold and, NEP period, peak of, Nepmen, – Smyshlyayev and, –, – October Revolution propaganda Bolshoy Theatre after, agitational, Imperial Theatres after, through newspapers, Maly Theatre after, through state theatres, – MAT during, – Pryazhko, Pavel, – The Storming of the Winter Palace, –, psychological gesture, promotion of MAT during, Pushkino, , Russian State Institute of Scenic Arts, The Russian Theatre under the Revolution (Sayler), The Queen of Spades (Tchaikovsky),
Rabelais and His World (Bakhtin), – Saint-Denis, Michel, – Rachmaninov, Sergey, Sakhnovsky, Vasily, , –
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Salvini, Tomaso, spiritual communion, Sats, Ilya, , stage creativity, of actors, Sats, Natalya, stage design, Stanislavsky on, , – Saxe-Meiningen Court Theatre, Stalin, Josef Sayler, Oliver, Five-Year Plan, , Scriabin, Aleksandr, , MAT under, from -, – The Seagull (Chekhov, Anton), –, – socio-political plays, – Stanislavsky direction of, – Stanislavski in America (Munk), – Sechenov, Ivan, Stanislavsky, Konstantin, –. See also Moscow Second Moscow Art Theatre (MAAT), – Art Theatre; Society of Art and Second Studio, , – Literature; specific studios criticism of works at, –, at Abramtsevo commune, MAT merger with, – on agitprop theatre, – Society of Art and Literature and, on American audiences, – ‘studists’ at, – arrest of, as theatre-studio, – on art, – theatrical focus of, – artistic legacy of, – works performed at, –, – in England, – Sellars, Peter, – in France, – Senelick, Laurence, generational transmission of, Serov, Valentin, – international context for, – Shakespeare, William, , –, – temporal factors for, – Shakhalov, Aleksandr, in US, – Shchepkin, Mikhaïl, Chekhov, Anton, works of Shchukin, Sergey, directed by Stanislavsky, – Shekhtel, Fyodor, musicality and, – Shostakovich, Dmitry, production scores for, – friendship with Meyerhold, – in Communist Party newspapers, Silver Age. See metaphysics Diaghilev and, Simov, Viktor, , as director. See directors Sinitsyn, Vladimir, as director-pedagogue, –, Slowacki, Juliusz, Duncan as influence on, xi small communal apartment. See kommunalka early years for, – Smeliansky, Anatoly, – Gorky and, works directed by Smolin, Dmitri, musicality of, – Smyshlyayev, Valentin, , –, production scores for, – as Bolshevik, – individuality as distinct from individualism Proletkult and, –, – for, – The Snow Maiden (Rimsky-Korsakov), inspiration for, – , line of physical action, Sobolevskaya, Olga, Mamontov as mentor to, – Sobolyov, Yury, method of physical action, – sobornost, , immediate action, – socialism, throughaction, , –, , , – ‘socialist realism,’ – word action, – Society of Art and Literature, –, –. See Meyerhold friendship with, xi also Moscow Art Theatre Old Believer Orthodoxy as influence on, xi intelligentsia and, – Orthodoxy of, , –, , – raznochintsy and, spiritual practices, , – Sokolova, Zinaïda, –, as stage actor, – Sologub, Fyodr, on stage creativity, Solovyova, Inna, on stage design, , – Solovyova, Vera, – on the subconscious, –, – Soviet Writers’ Union, on the superconscious, – ‘spirit wrestlers.’ See Dukhobors Tchaikovsky and, ‘spirit-soul,’ – Tolstoy as influence on, xi
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Tortsov (teacher/creator) and, , , , ‘fantastic realism’ and, – in First Studio, – on the unconscious, – foundational points of, – on visualization, four elements of, – ‘ya yesm’ for, – method of physical action and, –, –, – yoga for, ‘nature’ and, – Stanislavsky, Konstantin, works of for opera, An Actor’s Work on a Role, – Opera-Dramatic Studio and, – An Actor’s Work on Himself, Part One, –, , organic creative nature and, , practical purpose of, xi English translation of, , – theatre of emotional experiencing and, – An Actor’s Work on Himself, Part Two, –, , yoga and, , English translation of, , – Tagore, Rabindranath, – My Life in Art, –, –, , – Taïrov, Aleksandr, – Stanislavsky in Focus (Carnicke), Fourth Studio and, star system, in Imperial Theatres, Talashkino community, State Jewish Theatre, – The Tale of Ivan the Fool and his Brothers state theatres (Tolstoy, Lev), nationalization of, – Tarasova, Alla, propaganda through, – Tatarinov, Vladimir, Stein, Peter, Taylor, Frederick Winslow, Steiner, Rudolf, Taylorism, The Storming of the Winter Palace, –, Tchaikovsky, Pyotr, , – Strasberg, Lee, Tcherkasski, Sergei, –, – Method acting theory and, The Teacher Bubus (Fayko), Stravinsky, Igor, teachers, at Bolshoy Opera Studio, – Strehler, Giorgio, ix–x, Telesheva, Yelena, Strindberg, August, Telyakovsky, V. A., Student Studio, . See also Third Studio Telyatinki community, – ‘studists’ Tenisheva (Princess), at Second Studio, – Théâtre du Soleil, , at Third Studio, – Théâtre du Vieux Colombier, the subconscious, Stanislavsky on, –, Theatre for Young People, – Théâtre Libre, Sudakov, Ilya, , Théâtre National Populaire, – Sudbinin, Serafim, ‘theatre of death,’ The Suicide (Erdman), – theatre of emotional experiencing, – Sulerzhitsky, Leopold, xi, –, , –, actors in, – , –, –, , , , spectators in, –. See also First Studio System of acting and, – on affective memory, – theatre of representation, on improvisation, – Theatre of Worker Youth (TRAM), – Orthodoxy of, MAT opposed by, xi The Sunken Bell (Hauptmann), – ‘theatre-church,’ ensemble theatre as, – the superconscious, – theatre-studio, – Sushkevich, Boris, –, –, theatrical theatre, – Symbolists, , – ‘theatricality,’ ‘synthetic’ theatre, – Theory of the Development of a Stage Show System of acting, for Stanislavsky, –, (Smyshlyayev), – – theosophists, discipline in, – Third Studio, , – in ensemble theatre, – development of, ethics in, –, ‘studists’ in, – etudes in, –, , , , , , , The Three Sisters (Chekhov, Anton), –, , , , –, –
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throughaction, , –, , – Vasilyev, Anatoly, x, –, –, – Tolstoy, Aleksey, , – Vasnetsov, Apollinary, –, Tolstoy, Lev, xi, , , , Vasnetsov, Viktor, –, – on art, – Verhaeren, Emile, MAT and, – Vershilov, Boris, Tolstoy, Sofya, Victory Over the Sun (Kruchenykh), Toporkov, Vasily, – Le Vieux Colombier, – Tortsov (teacher/creator), , , , – Vilar, Jean, – Tovstonogov, Georgy, The Village of Stepanchikovo (Dostoyevsky), , TRAM. See Theatre of Worker Youth Tree, Herbert Beerbohm, – Vinogradskaya, Irina, , Trench, Herbert, – visualization, , , Tretyakov, Pavel, Volkenstein, Vladimir, – Tretyakov, Sergey, , Volkostrelov, Dmitry, Trotsky, Lev, – von Hartmann, Edouard, Tsar Fyodor Ionnovich (Tolstoy, Aleksey), , – Vrubel, Mikhaïl, –, –, Turgenev, Ivan, –, –, , – Vyakhireva, V. A., Two Orphans (d’Ennery and Cormon), – The Wayfarers (Volkenstein), – Udaltsova, Zinaïda, –, Weigel, Helene, – Uncle Vanya (Chekhov, Anton), –, –, Wells, H. G., – – Werther (Massenet), the unconscious, – What is Art? (Tolstoy, Lev), Union of Soviet Socialist Republics (USSR), The White Guard (Bulgakov), ensemble theatre in, – White Nights (Dostoyevsky), First Five Year Plan in, Whyman, Rose, – socialism in, Wilde, Oscar, Taylorism in, Wilson, Robert, ix–x United States (US) The Wooster Group, Stanislavsky legacy in, – word action, – theatre audiences in, Stanislavsky on, – World of Art, x Untilovsk (Leonov), The World of Art (Diaghilev, journal), – Uriel Costa (Gutskow), – The Wreck of the ‘Hope’ (Hejermans), – US. See United States Uspenskaya, Maria, , ‘ya yesm’ (‘Iam’), , –, USSR. See Union of Soviet Socialist Republics Yagoda, Genrikh, Utopian communities Yasnaya Polyana community, – Abramtsevo commune Yefremov, Oleg, collective goals of, Yelizaveta Petrovna (Smolin), cross-arts explorations in, x Yermilov, Vladimir, Mamontov and, – Yevgeny Onegin (Tchaikovsky), – Stanislavsky at, Yevpatoria community, –, ensemble theatre as, – yoga, First Studio as, – First Studio and, – Pushkino, , for Stanislavsky, sobornost and, System of acting and, Talashkino community, Telyatinki community, – Zagorsky, Mikhaïl, Yasnaya Polyana community, – Zatvornik, Feofan, – Yevpatoria community, –, Zavadsky, Yury, –, Zhenovach, Sergey, – Vakhtangov, Yevgeny, xi, , –, –, Zola, Émile, , –. See also Third Studio Zon, Boris, –, –, – ‘fantastic realism’ of, Zuyeva, Anastasiya, –
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