DOCSLIB.ORG

The Stage History of Goethe's Faust I in Imperial Russia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Stage History of Goethe's Faust I in Imperial Russia The Stage History of Goethe’s Faust I in Imperial Russia: Performance and Archival Record by Viktoriya Melnykevych A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in German Waterloo, Ontario, Canada, 2012 ©Viktoriya Melnykevych 2012 AUTHOR’S DECLARATION I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii ABSTRACT This dissertation is devoted to the stage history of Goethe’s Faust I in Imperial Russia with the goal of initiating academic discussion of this previously ignored topic. The significance of this study lies not only in the fact that it enlarges our comprehension of the play’s treatment in the Russian context, but more importantly in its direct implications for earlier studies of Russian literature in relation to Goethe’s Faust . The dissertation records analytically dramatic productions of the play before 1917 and provides a bibliography of their production, performance and reception processes. The central premise of the dissertation is that theatre is a social phenomenon, informed by the contemporary setting in which it is produced and received. With this in mind, five distinctive adaptations are investigated with the goal of identifying the peculiarities of the play’s treatment and highlighting the influences of the socio-historical factors surrounding it. In particular, this study considers the dependence of the adaptation on contemporary theatrical conventions and explores the relationship between theatre, culture and the state in Imperial Russia. It argues that a successful adaptation of Goethe’s Faust I in Imperial Russia was delayed until the flourishing of ‘directorial theatre’, which in turn opened new possibilities for future theatrical explorations of the play. The analysis describes strategies of cultural appropriation and affirms the conformity and sensitivity of theatre to the state. iii ACKNOWLEDGEMENTS I would like to acknowledge my supervisor Dr. David G. John for inspiring me at the initial stages of my doctoral studies to embark on this topic and for his tremendous patience and encouragement throughout the lengthy process of producing this dissertation. This dissertation has benefited tremendously from his helpful advice, constructive criticism, and editing of the drafts, and for that I am extremely grateful. I wish to thank my internal readers Dr. Zinaida Gimpelevich and Dr. Paul M. Malone, who provided much-appreciated support, offered valuable comments and maintained interest in this topic; and especially my external readers, Dr. John North of the English Department of the University of Waterloo and Dr. Jane K. Brown of the Department of Germanics, University of Washington. It is my pleasure to thank a number of institutions in Moscow and St. Petersburg that hold the documents analyzed in this study, including the staff of the Russian State Library, Central Scholarly Library, Russian State Library of the Arts, Russian National Literature and Arts Archive, Bakhrushin State Central Theatre Museum and Russian State History Archive for their expert advice and assistance in researching endless catalogue lists. Special gratitude goes to Elena Bakushyna and Marina Tsapovetskaya at the Russian State Theatre Library in St. Petersburg for their interest in this project and their help in acquiring the documents. A special note of appreciation goes to Helena Calogeridis of the University of Waterloo library and Ksenya Kiebuzinski of the Petro Jacyk Centre (University of Toronto) for their guidance in finding Russian periodicals in North America and for their effort in clarifying contradictory biographical information. This dissertation would not have been possible without the love of my family. I would like to express my sincere appreciation to my parents, Nataliya and Mykola Melnykevych, and my parents-in-law, Halyna and Yuriy Rudavsky, who have supported my higher aspirations and believed in the success of this project. I am indebted to my husband Orest Stoyanovskyy for his financial support during my research trip to Russia and in the final stages of my writing. Finally, I thank him and our son Yuriy for maintaining their faith in me and being a constant source of happiness and joy. iv DEDICATION In Memory of Dr. Yuriy Rudavsky and Kornelia Melnykevych v TABLE OF CONTENTS AUTHOR’S DECLARATION ii ABSTRACT iii ACKNOWLEDGEMENTS iv DEDICATION v TABLE OF CONTENTS vi LIST OF APENDICES ix INTRODUCTION 1 Significance of the Study 2 Data Collection: Historiographic Aspects 9 Performance Analysis 13 Methodological Approach 20 Chapter Division 23 CHAPTER 1: Theatre as an Historical Phenomenon 25 1.1. Historical Background 25 1.2. Theatrical Tradition 28 The Actor’s Domination of Stage in the 1870s 28 The Anticipation of Change: 1880-1890s 30 Theatre of a New Era: 1898-1917 32 1.3. Theatrical Censorship 33 1.4. Orthodoxy and Theatre 36 CHAPTER 2: Faust [Фаустъ ], 1877 39 2.1. Moscow’s Maly Theatre 39 2.2. Adaptation of the Play 40 CHAPTER 3: Faust and Margarita [Фаустъ и Маргарита ], 1878 45 3.1. Description of the Production 45 Reception of the Play and Discourse on Celebrities 46 Primary Materials 50 3.2. Structural Analysis 53 Structure 53 Summary of Differences on the Level of Scenes & Thematic Complexes 54 vi 3.2.1. Characterization of Faust 59 The Scholar’s Predicament 60 The Contract 63 The Love Story 66 3.2.2. Characterization of Margarita 70 Symbol of Christian Virtues 70 Margarita’s Salvation 71 3.2.3. Characterization of Mephistopheles 73 Treatment of the Devilish 73 3.2.4. The Reading of the Production 75 3.3. Contextual Analysis 77 Socio-historic Reading 77 CHAPTER 4: Faust [Фаустъ ], 1897 87 4.1. Theatre of Literary-Artistic Circle 87 4.2. The Adaptation of the Play 88 CHAPTER 5: Faust I [Фаустъ I], 1902 93 5.1. Description of the Production 93 Primary Materials 94 Director’s Approach 96 Reception of the Play and Discourse on Celebrities 102 5.2. Structural Analysis 109 Structure 109 Scene Deletions 110 Tendencies of the Production 113 Localization 121 5.2.1. Characterization of Faust 123 The Scholar’s Predicament 123 The Contract 128 The Love Story 130 5.2.2. Characterization of Margarita 132 5.2.3. Characterization of Mephistopheles 133 The Concept and Purpose of the Devilish 133 5.2.4. Reading of the Production 135 5.3. Contextual Analysis 136 vii Socio-historic Reading 136 CHAPTER 6: Faust [Фаустъ ], 1912 143 6.1. Description of the Production 143 Primary Materials 146 Komissarzhevsky’s Synthetic Theatre 149 The Director’s Approach to Goethe’s Faust I 152 Reception 156 6.2. Structural Analysis 164 Mise-en-scène and Costumes 164 Structure 171 Tendencies of Modification 172 6.2.1. Characterization of Faust 178 6.2.2. Characterization of Margarita 182 6.2.3. Characterization of Mephistopheles 185 6.2.4. Reading of the Production 188 6.3. Contextual Analysis 189 Socio-historic Reading 189 CHAPTER 7: Conclusion 193 BIBLIOGRAPHY 199 Theatrical Reception of Goethe’s Faust in Imperial Russia 199 Other Works Cited and Consulted 203 APPENDICES 221 viii LIST OF APPENDICES A. Faust [ Фаустъ ], 1877: Scene Titles B. Comparison of Text Excerpts C. Faust and Margarita [Фаустъ и Маргарита ], 1878: First Page of the Manuscript D. Faust and Margarita [Фаустъ и Маргарита ], 1878: Handwriting Analysis of Manuscript Excerpts E. Faust and Margarita [Фаустъ и Маргарита ], 1878: Overview of the Location of Original Lines F. Faust [ Фаустъ ], 1897: Mephistopheles G. Faust I [ Фаустъ I] , 1902: Handwriting Analysis of Prompt-book Excerpts H. Faust I [ Фаустъ I] , 1902: Russian Scene Titles I. Faust I [Фаустъ I], 1902: Author’s Translation of Scene Titles J. Faust I [Фаустъ I], 1902: Summary of Scene Titles K. Faust I [Фаустъ I], 1902: Performance Photographs L. Faust I [Фаустъ I], 1902: Overview of Deletions M. Faust [Фаустъ ], 1912: Photographs, Sketches and Illustrations N. Faust [ Фаустъ ], 1912: List of Characters O. Faust [Фаустъ ], 1912: Sample Page with Pagination P. Faust [Фаустъ ], 1912: Russian Scene Titles Q. Faust [Фаустъ ], 1912: Handwriting Analysis R. Faust [ Фаустъ ], 1912: Overview of Deletions ix INTRODUCTION This study sets out to document analytically the stage history of Goethe’s Faust in Imperial Russia. As it takes into account past performances of the play and the attention they received, it takes the approach of theatre historiography. It thus aims to record performances of the play based on the preserved documentation, to compile a bibliography of the primary and secondary sources, and to provide a chronicle of the stage history of the play in Russia until 1917. This information will serve as a foundation for the remainder of the study. The purpose of this thesis is not merely to document specific and detailed aspects of performances in a descriptive manner, but also to establish the ways in which the productions deviate from the original. This will be achieved through a comparative analysis of characters and themes. Furthermore, the study will identify the extent to which productions were influenced by the theatrical conventions and in particular by the emergence of the ‘directorial theatre’. The expansion of the analysis into contextual matters will establish the ways in which cultural and socio-political determinates imposed specific characteristics on the treatment of the original. Given the highly unstable peculiarities of the period from an historical perspective in combination with the powerful censorship practices of the age, I will argue that theatrical culture was characterized by its conformity to state policies. The purpose of this introduction is to pave the way for the analysis of the theatrical reception of Goethe’s Faust in Russia in the following ways: - outlining the significance of this study; - establishing a corpus for the analysis by providing a list of the theatrical adaptations of the play in Russia until 1917; 1 - discussing the theoretical framework and methodological approach to be used in the analysis.
Load more

Recommended publications
  • The Cambridge Companion to Modern Russian Culture Edited by Nicholas Rzhevsky Frontmatter More Information
    Cambridge University Press 0521477999 - The Cambridge Companion to Modern Russian Culture Edited by Nicholas Rzhevsky Frontmatter More information The Cambridge Companion to Modern Russian Culture Russia is a dominant force in the world, yet its culture has been shaped by tensions involved in its unique position on the margins of both East and West. As Russia faces the latest cultural challenge from outside its national boundaries, this volume introduces Russian culture in all its rich diversity,including the historical conditions that helped shape it and the arts that express its highest achievements. Newly commissioned essays by leading scholars explore language, religion, geography,ideological structures, folk ethos and popular culture, literature, music, theatre, art, and film. A chronology and guides to further reading are also provided. The Companion provides both historical orientation for the central processes of Russian culture and introductory surveys of the arts in their modern context. Overall, the volume reveals, for students, scholars, and all those interested in Russia, the dilemmas, strengths, and complexities of the Russian cultural experience. Nicholas Rzhevsky isAssociate Professor of German at the StateUniversityofNewYork,StonyBrook.Heisauthorof Russian Literature and Ideology (1983) and editor of An Anthology of Russian Literature: Introduction to a Culture (1996), among other works. He edited and translated Pushkin’s Boris Godunov and wrote the English-language version of Crime and Punishment recently directed by Yury Liubimov at London’s Lyric Theatre, Hammersmith. © Cambridge University Press www.cambridge.org Cambridge University Press 0521477999 - The Cambridge Companion to Modern Russian Culture Edited by Nicholas Rzhevsky Frontmatter More information Cambridge Companions to Culture The Cambridge Companion to Modern German Culture Edited by Eva Kolinskyand Wilfried van der Will The Cambridge Companion to Modern Russian Culture Edited by Nicholas Rzhevsky The Cambridge Companion to Modern Spanish Culture Edited by David T.
    [Show full text]
  • Meat: a Novel
    University of New Hampshire University of New Hampshire Scholars' Repository Faculty Publications 2019 Meat: A Novel Sergey Belyaev Boris Pilnyak Ronald D. LeBlanc University of New Hampshire, [email protected] Follow this and additional works at: https://scholars.unh.edu/faculty_pubs Recommended Citation Belyaev, Sergey; Pilnyak, Boris; and LeBlanc, Ronald D., "Meat: A Novel" (2019). Faculty Publications. 650. https://scholars.unh.edu/faculty_pubs/650 This Book is brought to you for free and open access by University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Faculty Publications by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Sergey Belyaev and Boris Pilnyak Meat: A Novel Translated by Ronald D. LeBlanc Table of Contents Acknowledgments . III Note on Translation & Transliteration . IV Meat: A Novel: Text and Context . V Meat: A Novel: Part I . 1 Meat: A Novel: Part II . 56 Meat: A Novel: Part III . 98 Memorandum from the Authors . 157 II Acknowledgments I wish to thank the several friends and colleagues who provided me with assistance, advice, and support during the course of my work on this translation project, especially those who helped me to identify some of the exotic culinary items that are mentioned in the opening section of Part I. They include Lynn Visson, Darra Goldstein, Joyce Toomre, and Viktor Konstantinovich Lanchikov. Valuable translation help with tricky grammatical constructions and idiomatic expressions was provided by Dwight and Liya Roesch, both while they were in Moscow serving as interpreters for the State Department and since their return stateside.
    [Show full text]
  • Interactive Multimedia Solutions Developed for the Opening of the New Stage of the Alexandrinsky Theatre
    Interactive Multimedia Solutions Developed for the Opening of the New Stage of the Alexandrinsky Theatre Nikolay Borisov, Artem Smolin, Denis Stolyarov, Pavel Shcherbakov St. Petersburg National Research University of Information Technologies, Mechanics and Optics, Saint Petersburg State University Abstract. This paper focuses on teamwork by the National Research University of Information Technologies, Mechanics and Optics (NRU ITMO) and the Aleksandrinsky Theatre in preparation of opening of the New Stage of the Alexandrinsky Theatre. The Russian State Pushkin Academy Drama Theatre, also known as the Alexandrinsky Theatre, is the oldest national theatre in Rus- sia. Many famous Russian actors performed on the Alexandrinsky’s stage and many great directors. May 2013 marked the opening of the New Stage of the Alexandrinsky Theatre. The theatre complex comprises three buildings: the new stages building, a media center, and the building housing a center of theatre ed- ucation. Several plays shown simultaneously on multiple stages within the new complex’s buildings constituted the opening gala of the New Stage of the Alexandrinsky Theatre. The works of Fyodor Dostoyevsky were the plays’ uni- fying theme. NRU ITMO employees developed several interactive theatre pro- ject solutions implemented for the opening of the Alexandrinsky Theatre’s New Stage. Keywords: Theatre, Multimedia, Information Technologies, NRU ITMO, SPbGU 1 Introduction The Russian State Pushkin Academy Drama Theatre, also known as the Alexandrinsky Theatre, is the oldest national theatre in Russia. It was founded in 1756 by the Senate’s decree. The history of the Alexandrinsky Theatre is closely linked to some of the most prominent exponents of Russian culture.
    [Show full text]
  • Report of the Governor's Commission to Rebuild Texas
    EYE OF THE STORM Report of the Governor’s Commission to Rebuild Texas John Sharp, Commissioner BOARD OF REGENTS Charles W. Schwartz, Chairman Elaine Mendoza, Vice Chairman Phil Adams Robert Albritton Anthony G. Buzbee Morris E. Foster Tim Leach William “Bill” Mahomes Cliff Thomas Ervin Bryant, Student Regent John Sharp, Chancellor NOVEMBER 2018 FOREWORD On September 1 of last year, as Hurricane Harvey began to break up, I traveled from College Station to Austin at the request of Governor Greg Abbott. The Governor asked me to become Commissioner of something he called the Governor’s Commission to Rebuild Texas. The Governor was direct about what he wanted from me and the new commission: “I want you to advocate for our communities, and make sure things get done without delay,” he said. I agreed to undertake this important assignment and set to work immediately. On September 7, the Governor issued a proclamation formally creating the commission, and soon after, the Governor and I began traveling throughout the affected areas seeing for ourselves the incredible destruction the storm inflicted Before the difficulties our communities faced on a swath of Texas larger than New Jersey. because of Harvey fade from memory, it is critical that Since then, my staff and I have worked alongside we examine what happened and how our preparation other state agencies, federal agencies and local for and response to future disasters can be improved. communities across the counties affected by Hurricane In this report, we try to create as clear a picture of Harvey to carry out the difficult process of recovery and Hurricane Harvey as possible.
    [Show full text]
  • Russian Theatre Festivals Guide Compiled by Irina Kuzmina, Marina Medkova
    Compiled by Irina Kuzmina Marina Medkova English version Olga Perevezentseva Dmitry Osipenko Digital version Dmitry Osipenko Graphic Design Lilia Garifullina Theatre Union of the Russian Federation Strastnoy Blvd., 10, Moscow, 107031, Russia Tel: +7 (495) 6502846 Fax: +7 (495) 6500132 e-mail: [email protected] www.stdrf.ru Russian Theatre Festivals Guide Compiled by Irina Kuzmina, Marina Medkova. Moscow, Theatre Union of Russia, April 2016 A reference book with information about the structure, locations, addresses and contacts of organisers of theatre festivals of all disciplines in the Russian Federation as of April, 2016. The publication is addressed to theatre professionals, bodies managing culture institutions of all levels, students and lecturers of theatre educational institutions. In Russian and English. All rights reserved. No part of the publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission from the publisher. The publisher is very thankful to all the festival managers who are being in constant contact with Theatre Union of Russia and who continuously provide updated information about their festivals for publication in electronic and printed versions of this Guide. The publisher is particularly grateful for the invaluable collaboration efforts of Sergey Shternin of Theatre Information Technologies Centre, St. Petersburg, Ekaterina Gaeva of S.I.-ART (Theatrical Russia Directory), Moscow, Dmitry Rodionov of Scena (The Stage) Magazine and A.A.Bakhrushin State Central Theatre Museum. 3 editors' notes We are glad to introduce you to the third edition of the Russian Theatre Festival Guide.
    [Show full text]
  • The Soviet Theatre
    03593 PUBLISHER'S A GREAT NUMBER of books : ;<?fc Soviet Russia have come from the press during "recent years but mainly impressions of the Soviet regime by visitors to or residents in the Soviet Union. Indeed, the lack of really precise and definite information has been as noticeable as the plethora of impressions. We accordingly requested prominent Soviet officials to prepare a series of books which would describe and explain the Soviet system and method in the various branches of economic, political, national, social, and artistic life. We have italicised the words describe and intention is to tell for explain ; for the simply us, instance, how labour is organised, how the problem of nationalities i& being dealt with, how a collective farm works, how commodities are distributed, how justice is administered, and so on. V. G. -was born in He at P. A . M A Rf&^rs 1897. graduated Moscow University ^history and philology). of the In 1918 he joined the Theatre department of Education. In he was People's Commissariat 1919 work. he active in literary and pedagogical A year later, studios. In lie organised a number of theatrical 1921 of became one of the organisers of The Institute Theatre Research, which subsequently became the theatre section of the State Academy of the Art Sciences. the Art Theatre In In 19125 Markov joined Moscow the and the capacity of director of literary department, a was instrumental in grouping around the theatre number of young Soviet dramatists and in bringing out new writers, such as Leonov, Ivanov, Katayev, Olesha, and others.
    [Show full text]
  • 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.
    [Show full text]
  • RUSS 385: Russian Drama Lyudmila Parts 1 Fall 2021
    RUSS 385: Russian Drama Lyudmila Parts 1 Fall 2021 RUSS 385 Prof. Lyudmila Parts 688 Sherbrooke, #332 email: [email protected] T/TH 1:05-2:25. Notice different classrooms: Tuesday SH 688, # 491 Thursday SH 688, # 391 Office hours: Tuesday 2:30-3:30 and by appointment on Zoom Russian Drama from Pushkin to Chekhov. Major topics: • The development of Russian Drama in the 19th century. Formation of dramatic canon. • Theories of drama and theater. Dramatic conventions and radical experiments with the form. • European influence and Russian context. Texts on MyCourses to be printed out by you: 1. Alexander Griboedov, The Trouble with Reason 2-5. Alexander Pushkin, Boris Godunov; Little Tragedies (3): Miserly Knight, Mozart and Salieri, The Stone Guest 6. Mikhail Lermontov, Masquerade 7. Nikolai Gogol, The Inspector General 8. Ivan Turgenev, A Month in the Country 9-10. Alexander Ostrovsky, The Storm; The Dowerless Girl 11. Maxim Gorky, The Lower Depth 12. Leo Tolstoy, The Fruits of Enlightenment 13-14. Anton Chekhov, The Seagull; Three Sisters 15. Mikhail Bulgakov, The Days of the Turbins. Requirements: Short paper (3-4 pages) - a close reading of a passage or an exploration of a theme. Topics will be posted in advance on MyCourses. Final paper (5-6 pages) - on the topic dealing with a period, author, work, theme, cultural problem, and/or theoretical issue discussed in the course. Group projects (two): I will divide the class into small groups and assign the topics for presentation and plays for performance. See MyCourses for details. For both projects, each student submits individual report and receives an individual grade.
    [Show full text]
  • Top Moscow Observation Decks Moscow Tours
    Moscow Metro Map Sights and Tourist Attractions 23 Kadashevskaya 34 Andronikov Monastery 46 Maly Theatre 58 Central Moscow Sloboda Museum Complex Tel.: +7 (495) 911-45-02 Tel.: +7 (495) 624-40-46 Hippodrome Tel.: +7 (925) 131-19-06 10 Andronyevskaya Sq. 1 Teatralny Pass. Tel.: +7 (495) 945-42-03 MUSEUMS 12 Bakhrushin State 2 Kadashevsky Blind maly.ru 22 Begovaya St., bld. 1 1 Moscow Kremlin Central Theatre Museum 35 Krutitskoye Lane, bld. 5 cmh.ru Museums Tel.: +7 (495) 953-44-70 Patriarchal Metochion 47 Chekhov Moscow museumkadashi.com Tel.: +7 (495) 695-41-46 31/12 Bakhrushina St. Tel.: +7 (495) 676-30-93 Art Theatre GARDENS, PARKS, ZOO The Kremlin gctm.ru 24 Polytechnic Museum 13 Krytitskaya St. Tel.: +7 (495) 629-87-60 59 Zaryadye Park kreml.ru +7 (495) 730-54-38 krutitsy.ru 3 Kamergersky Lane Tel.: +7 (495) 531-05-00 13 Pushkin Memorial TOURIST CALL CENTER OF MOSCOW 9 Lubyansky Lane, bld. 1 6 Varvarka St. 2 State Historical Apartment on Arbat 36 Kazan Cathedral mxat.ru 8-800-302-31-12 AND 8-800-350-51-12 polymus.ru zaryadyepark.ru Museum Tel.: +7 (499) 241-92-95 on Red Square 48 Gorky Moscow +7 (495) 587-71-12 Tel.: +7 (495) 692-40-19 53 Arbat St. MODERN ART CENTERS Tel.: +7 (495) 698-27-26 Art Theatre 60 Alexandrov Gardens MOSCOW TOURIST PORTAL 1 Red Square pushkinmuseum.ru 25 Winzavod Centre 3 Nikolskaya St. On the northwest side Tel.: +7 (495) 697-87-73 DISCOVER.MOSCOW shm.ru of Contemporary Art kazanski-sobor.ru of the Kremlin walls 14 Bulgakov Museum 22 Tverskoy Boulevard 3 Tel.: +7 (495) 917-46-46 Tretyakov Gallery Tel.: +7 (495) 699-53-66 37 Vysokopetrovsky mxat-teatr.ru 61 Hermitage Garden MOSCOW GUEST PASS CARD: Tel.: +7 (495) 957-07-27 1/8 4th Syromyatnichesky RUSSIANCITYPASS.COM 10 Bolshaya Sadovaya St.
    [Show full text]
  • St. Petersburg Is Recognized As One of the Most Beautiful Cities in the World. This City of a Unique Fate Attracts Lots of Touri
    I love you, Peter’s great creation, St. Petersburg is recognized as one of the most I love your view of stern and grace, beautiful cities in the world. This city of a unique fate The Neva wave’s regal procession, The grayish granite – her bank’s dress, attracts lots of tourists every year. Founded in 1703 The airy iron-casting fences, by Peter the Great, St. Petersburg is today the cultural The gentle transparent twilight, capital of Russia and the second largest metropolis The moonless gleam of your of Russia. The architectural look of the city was nights restless, When I so easy read and write created while Petersburg was the capital of the Without a lamp in my room lone, Russian Empire. The greatest architects of their time And seen is each huge buildings’ stone worked at creating palaces and parks, cathedrals and Of the left streets, and is so bright The Admiralty spire’s flight… squares: Domenico Trezzini, Jean-Baptiste Le Blond, Georg Mattarnovi among many others. A. S. Pushkin, First named Saint Petersburg in honor of the a fragment from the poem Apostle Peter, the city on the Neva changed its name “The Bronze Horseman” three times in the XX century. During World War I, the city was renamed Petrograd, and after the death of the leader of the world revolution in 1924, Petrograd became Leningrad. The first mayor, Anatoly Sobchak, returned the city its historical name in 1991. It has been said that it is impossible to get acquainted with all the beauties of St.
    [Show full text]
  • St. Petersburg
    Maps Events Restaurants Cafés Nightlife Sightseeing Shopping Hotels St. Petersburg October - November 2014 Mellow Yellow Autumn beyond the city limits More than 10 years in Russia! Fine dining and great view Discover the world of Buddha-Bar inyourpocket.com N°97 Contents Where to eat 28 ESSENTIAL Restaurants in hotels 42 CIT Y GUIDES Nightlife 45 Foreword 4 What to see 48 The Essentials 48 In the News 5 Hermitage 49 Arrival & Getting Around 6 St. Petersburg’s historical outskirts 52 Old Soviet Tours 54 City Basics 8 Where to stay 55 Language 9 Interview with concierge 56 Culture & Events 10 Shopping 58 Concerts and festivals 10 Russian souvenirs 58 Russian rock 16 Live music clubs 18 Expat & Business 60 Exhibitions 20 The Expat Experience 60 Features Maps & Index St. Petersburg theatre life 22 City map 62 Krestovsky and Yelagin Islands 24 Street index 64 Historic dining 35 Metro map 67 Konyushennaya area 43 Moscow 65 0+ www.facebook.com/StPetersburgInYourPocket October - November 2014 3 Foreword In the News Across the meadows whirling blow The yellow leaves of fall; HAPPY UNITY DAY PETROVSKAYA AQUATORIA No verdure in the woodlands now, November 04 is Russia’s Day of Popular Unity. This national September is traditionally associated with education and The dark green pine is all. holiday is a new old holiday having been celebrated for knowledge so what better time to hold the grand open- Beneath the boulder’s hanging crest, the first time in 1649 and commemorates the victorious ing of the historical theatrical scale model “Petrovskaya St. Petersburg In YourESSENTIAL Pocket No more on beds of flowers uprising in 1612 by Minin and Pozharsky which ejected Aquatoria”? This new unique exhibition is dedicated to founded and publishedCI TbyY OOO GUIDES Krasnaya Shapka/In Your Pocket.
    [Show full text]
  • THE PATH of the ACTOR 6 7 8 9 1011 1 2 13111 Michael Chekhov, Nephew of Anton Chekhov, Was Arguably One of the Greatest 4 Actors of the Twentieth Century
    1111 2 3 4 51 THE PATH OF THE ACTOR 6 7 8 9 1011 1 2 13111 Michael Chekhov, nephew of Anton Chekhov, was arguably one of the greatest 4 actors of the twentieth century. From his time as Stanislavsky’s pupil, followed 5 by his artistic leadership in the Second Moscow Art Academic Theatre, his 6 enforced emigration from the Soviet Union and long pilgrimage around 7 Europe, to his work in Hollywood, his life has made a huge impact on the 8 acting profession. Chekhov’s remarkable actor-training techniques inspired many Hollywood 9 legends – including Anthony Hopkins and Jack Nicholson – and his tech- 20111 niques remain one of the theatre’s best kept secrets. 1 This first English translation of Chekhov’s autobiographies combines The 2 Path of the Actor, from 1928, and extensive extracts from his later Life and 3 Encounters. Full of humorous and insightful observations involving promi- 4 nent characters from Moscow and the European theatre of the early twentieth 5111 century, Chekhov takes us through events in his acting career and personal 6 life, from his childhood in St Petersburg until his emigration from Latvia and 7 Lithuania in the early 1930s. 8 Chekhov’s witty, penetrating (and at times immensely touching) accounts 9 have been edited by Andrei Kirillov, whose extensive and authoritative notes 30111 accompany the autobiographies. Co-editor, Anglo-Russian trained actor, Bella 1 Merlin, also provides a useful hands-on overview of how the contemporary practitioner might use and develop Chekhov’s ideas. 2 The Path of the Actor is an extraordinary document that allows us unprece- 3 dented access into the life, times, mind and soul of a remarkable man and a 4 brilliant artist.
    [Show full text]