Время Обновления the Time of Renovation
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The Seagull: an Insiders' Account of the Groundbreaking Moscow
The Seagull This book is an insiders’ account of the groundbreaking Moscow production of Chekhov’s The Seagull directed by Anatoly Efros in 1966, which heralded a paradigm shift in the interpretation and staging of Chekhov’s plays. It is a unique glimpse behind the curtain of the laboratory of the new Russian theatre in the late twentieth century. Efros’s articles about Chekhov and The Seagull, his diaries, interviews and conversations, and most importantly the original rehearsal records combine to form an in-depth account of the director and his working process. This is an essential book for anyone with an interest in Chekhov and the history of modern Russian theatre. James Thomas is Professor of Theatre at Wayne State University. The Seagull An Insiders’ Account of the Groundbreaking Moscow Production Translated and edited by James Thomas With a Foreword by Anatoly Smeliansky First published 2019 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business 2019 selection, translation and editorial matter, James Thomas; The Seagull and associated material, Anatoly Efros; Foreword, Anatoly Smeliansky. The right of James Thomas to be identified as the author of the editorial material has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Iti-Info” № 1–2 (22–23) 2014
RUSSIAN NATIONAL CENTRE OF THE INTERNATIONAL THEATRE INSTITUTE «МИТ-ИНФО» № 1–2 (22–23) 2014 “ITI-INFO” № 1–2 (22–23) 2014 УЧРЕЖДЕН НЕКОММЕРЧЕСКИМ ПАРТНЕРСТВОМ ПО ПОДДЕРЖКЕ ESTABLISHED BY NON-COMMERCIAL PARTNERSHIP FOR PROMOTION OF ТЕАТРАЛЬНОЙ ДЕЯТЕЛЬНОСТИ И ИСКУССТВА «РОССИЙСКИЙ THEATRE ACTIVITITY AND ARTS «RUSSIAN NATIONAL CENTRE OF THE НАЦИОНАЛЬНЫЙ ЦЕНТР МЕЖДУНАРОДНОГО ИНСТИТУТА ТЕАТРА». INTERNATIONAL THEATRE INSTITUTE» ЗАРЕГИСТРИРОВАН ФЕДЕРАЛЬНОЙ СЛУЖБОЙ ПО НАДЗОРУ В СФЕРЕ REGISTERED BY THE FEDERAL AGENCY FOR MASS-MEDIA AND СВЯЗИ И МАССОВЫХ КОММУНИКАЦИЙ. COMMUNICATIONS. СВИДЕТЕЛЬСТВО О РЕГИСТРАЦИИ REGISTRATION LICENSE SMI PI № FS77-34893 СМИ ПИ № ФС77–34893 ОТ 29 ДЕКАБРЯ 2008 ГОДА OF DECEMBER 29TH, 2008 АДРЕС РЕДАКЦИИ: 129594, МОСКВА, УЛ. ШЕРЕМЕТЬЕВСКАЯ,Д.6.К.1 EDITORIAL BOARD ADDRESS: OSCOW HEREMETYEVSKAYA STR BLD ЭЛЕКТРОННАЯ ПОЧТА: [email protected] 129594, M , S ., 6, .1 MAIL RUSITI BK RU НА ОБЛОЖКЕ : ЕВГЕНИЙ МИРОНОВ В РОЛИ ГАМЛЕТА В СПЕКТАКЛЕ E- : @ . COVER: EVGENI MIRONOV IN “HAMLET/COLLAGE” «ГАМЛЕТ/КОЛЛАЖ» ТЕАТРА НАЦИЙ BY THEATRE OF NATIONS © РОМАН ДОЛЖАНСКИЙ © ROMAN DOLZHANSKY ФОТОГРАФИИ ПРЕДОСТАВЛЕНЫ ПРЕСС-СЛУЖБАМИ ПСКОВСКОГО PHOTOS ARE PROVIDED BY PRESS SERVICES OF PSKOV ACADEMIC DRAMA ДРАМАТИЧЕСКОГО ТЕАТРА ИМ. ПУШКИНА, ФЕСТИВАЛЕЙ «ЗОЛОТАЯ THEATRE NAMED AFTER A.S. PUSHKIN, GITIS -RUTI, “GOLDEN MASK” МАСКА» И «КАРАБАС», ГОГОЛЬ-ЦЕНТРА, ТЕАТРА НАЦИЙ, ТЕАТРА ИМ. AND “KARABAS” THEATRE FESTIVALS, MOSCOW STATE PUPPET THEATRE, ПУШКИНА, ТЕАТРА «САТИРИКОН», ТЕАТРА ИМ. ВАХТАНГОВА, ТЕАТРА REHACOMP INSTITUTE, PR DEPARTMENT OF A.A.BAKHRUSHIN ИКИТСКИХ ВОРОТ А ОСКОВСКИМ ТЕАТРОМ «У Н », РУТИ-ГИТИС , М THEATRE MUSEUM, GOGOL-CENTER, THEATRE OF NATIONS, MOSCOW КУКОЛ, ТЕАТРАЛЬНЫМ МУЗЕЕМ ИМ. БАХРУШИНА, ИНСТИТУТОМ PUSHKIN DRAMA THEATRE, SATIRIKON THEATRE, THE VAHTANGOV РЕАКОМП THEATRE, “U NIKITSKIKH VOROT” THEATRE ГЛАВНЫЙ РЕДАКТОР: АЛЬФИРА АРСЛАНОВА EDITOR-IN-CHIEF: ALFIRA ARSLANOVA ЗАМ. -
By Zukhra Kasimova Submitted to Central European University Department of History Supervisor
ILKHOM IN TASHKENT: FROM KOMSOMOL-INSPIRED STUDIO TO POST-SOVIET INDEPENDENT THEATER By Zukhra Kasimova Submitted to Central European University Department of History In partial fulfillment of the requirements for the degree of Master of Arts Supervisor: Professor Charles Shaw Second Reader: Professor Marsha Siefert CEU eTD Collection Budapest, Hungary 2016 Copyright in the text of this thesis rests with the Author. Copies by any process, either in full or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. CEU eTD Collection 1 ABSTRACT This thesis aims to research the creation of Ilkhom as an experimental theatre studio under Komsomol Youth League and Theatre Society in the late Brezhnev era in Tashkent, the capital of Uzbek SSR. The research focuses on the controversies of the aims and objectives of these two patronage organizations, which provided an experimental studio with a greater freedom in choice of repertoire and allowed to obtain the status of one of the first non-government theaters on the territory of former Soviet Union. The research is based on the reevaluation of late- Soviet/early post-Soviet period in Uzbekistan through the repertoire of Ilkhom as an independent theatre-studio. The sources used include articles about theatre from republican and all-union press. CEU eTD Collection 2 ACKNOWLEDGEMENTS I am grateful to my research advisor, Professor Charles Shaw, for encouraging me to focus on Soviet theatre developments in Central Asia, as well as for his guidance and tremendous support throughout the research process. -
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. -
Book Reviews
SPRING 1991 217 Book Reviews Modernism to Realism on the Soviet Stage, Tairov-Vakhtangov-Okhlopov. By Nick Worrall. Cambridge University Press, 1989. The Theater of Yuri Lyubimov, Art and Politics at the Taganka Theater in Moscow. By Alexander Gershkovich. Trans. Michael Yurieff. Paragon House, 1989. The Soviet years of Russia's theatrical life have produced relatively little in the way of great dramatic texts-playwrights are particularly susceptible to the wrath of the censor or the pressures of the political machine. The director, rather, has been the guiding spirit of twentieth-century Soviet theatre as it has frequently led the world in innovation and experimentation. Two recent books, one by Nick Worrall, the other by Alexander Gershkovich, attempt to place four directors in a historical context while critically evaluating their varying styles and approaches. Each author provides biographical information, excerpts from critical reviews, commentary from the directors themselves, photographs and sketches, timelines, and descriptions of significant productions. Although WorralPs scholarly and systematic style differs considerably from Gershkovich's more ebullient and laudatory writing, the books are both substantial complements to already-existing accounts of the work of the more famous Meyerhold and Stanislavsky. Worrall's text, Modernism to Realism on the Soviet Stage, devotes a chapter each to the directing careers of Alexander Tairov, Evgene Vakhtangov, and Nikolai Okhlopkov. Their names, while familiar still to Soviet theatregoers, are largely unknown to many theatre generalists who associate the post-revolutionary years in the Soviet Union with the rise and fall of Vsevolod Meyerhold. Indeed, the figure of Meyerhold hovers over the lives of these three men, influencing them in their struggles to create new forms for a new society. -
INFORMATION to USERS This Manuscript Has Been Reproduced
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections withsmall overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300North Z eeb Road, Ann Arbor. Ml 48106-1346USA 313/761-4700 800/521-0600 DRAMATIC AND THEATRICAL MANIFESTATIONS OF GLASNOST IN SOVIET RUSSIA DURING THE FIRST HALF OF THE GORBACHEV EPOCH, 1985-1988 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jeffrey Pace Stephens, B.A., M.A. -
Actor Training, Second Edition
Actor Training Second Edition Actor Training expands on Alison Hodge’s highly-acclaimed and bestselling Twentieth Century Actor Training. This exciting second edition radically updates the original book making it even more valuable for any student of the history and practice of actor training. The bibliography is brought right up to date and many chapters are revised. In addition, eight more practitioners are included – and forty more photographs – to create a stunningly comprehensive study. The practitioners included are: Stella Adler Joseph Chaikin Vsevolod Meyerhold Eugenio Barba Jacques Copeau Ariane Mnouchkine Augusto Boal Philippe Gaulier Monika Pagneux Anne Bogart Jerzy Grotowski Michel Saint-Denis Bertolt Brecht Maria Knebel Włodzimierz Staniewski Peter Brook Jacques Lecoq Konstantin Stanislavsky Michael Chekhov Joan Littlewood Lee Strasberg Sanford Meisner The historical, cultural and political context of each practitioner’s work is clearly set out by leading experts and accompanied by an incisive and enlightening analysis of the main principles of the practitioners’ training, practical exercises and key productions. This book is an invaluable introduction to the principles and practice of actor training and its role in shaping modern theatre. Alison Hodge has been a professional director since 1982. She was assistant director for Gardzienice Theatre and co-authored, with Włodzimierz Staniewski, Hidden Territories: the Theatre of Gardzienice (Routledge, 2004). She is director of The Quick and the Dead, an international theatre research company, and a Reader in Theatre Practice at Royal Holloway College, University of London. Her website can be found at www.alisonhodge.net Actor Training Second Edition Edited by Alison Hodge First published 2010 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Avenue, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2010.