By Nick Worrall
Extraordinary in its comprehensiveness, The Moscow artwork Theatre fills a wide hole in our wisdom of Stanislavsky and his theatre. Worrall focuses specifically element on 4 of The Moscow paintings Theatre's best-known productions:
* Tolstoy's Tsar Fedor Ioannovich
* Gorky's The reduce Depths
* Chekov's The Cherry Orchard
* Turgenev's A Month within the Country
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Additional resources for The Moscow Art Theatre
Example text
Instead, Laube sought to achieve artistic unity in the production of plays by other authors (Rudnitskiy 1989:8). Ostrovsky’s undoubted influence on the Art Theatre’s founders was less as a director than as one who espoused the idea of a National Theatre both popular and accessible. As he wrote in his ‘Note on the Situation of Dramatic Art in Russia at the Present Time’(1881): A national theatre is a sign of a nation’s maturity…. Possession of one’s own native theatre and pride in it are desiderata for the whole people, […] A Russian theatre in Moscow is needed primarily by merchants, therefore merchants should build it.
At points I made lively demonstrations. (Efros 1924:63) Referring to audience reaction to his directorial debut, Stanislavsky noted: we introduced a new manner of acting previously unseen on the Russian stage. The intelligent, sensitive public felt this and went wild with excitement, while the traditionalists protested…. The task of the actor is to educate the public and, although I do not consider myself strong enough for the task, nevertheless I do not wish to submit to its taste and will cultivate subtle acting in my own person based on gesture, pauses and the absence of false, theatrical gestures.
The only successful example, prior to the Art Theatre, was that of Fedor Korsh who exercised an important influence on the development of theatre in Moscow. The example of other serious undertakings in the provinces might also have encouraged Stanislavsky and Nemirovich. 3 His memoirs describe a particular interest in mise-en-scène and a desire ‘to discard all…clichés… stereotypes that set one’s teeth on edge, and exchange them for a natural, beautiful, truthful arrangement of persons and objects on stage’ (Senelick 1991:399).