Stanislavsky biography and personal life. Konstantin Sergeevich Stanislavsky - the man who created the system
Konstantin Sergeevich was born on January 17 (5), 1863 in the capital's Alekseev family, which belonged to a dynasty of large industrialists. Stanislavsky is the stage name he used in his adult years.
The Alekseev family was large: Kostya had nine more brothers and sisters. Parents who knew no need for anything great attention devoted to raising children. The best teachers in literature, natural sciences, foreign languages, dance, and music taught them.
At that time, it became fashionable to organize home amateur theaters, and the Alekseev family was no exception. They organized small performances for close friends and relatives, in which little Kostya invariably took part.
He experienced great pleasure during performances, and the parents supported the interests of their son. However, they considered the theater only as a pleasant hobby. Having matured, Konstantin had to take over his father’s business and manage a large factory.
And so it happened. After graduating from the Lazarev Institute, young Alekseev took care of his father’s affairs, developed production, entered into contracts, but did not stop dreaming about the theater.
Organization of MOIiLa
In 1885, Konstantin Sergeevich chose the pseudonym Stanislavsky for himself, and three years later, together with F. Komissarzhevsky and F. Sologub, he organized the Moscow Society of Art and Literature - MOIiL. Stanislavsky not only financed the society, but also personally drafted its charter.
Over the next ten years, Stanislavsky managed to create many vivid and memorable images in the productions of MOIiL. His acting talent was appreciated by the public and theater critics.
Possessing considerable creative potential, Konstantin Sergeevich not only acted on stage, but also staged performances.
Moscow Art Theater
In 1898 it took place fateful meeting Stanislavsky with theater director Nemirovich-Danchenko. For 24 hours they discussed an issue that had long worried them both - the creation of the Moscow Art Theater.
The debut of the new theater was the play “Tsar Fyodor Ioannovich,” but the real discovery in the world of theatrical art was the production of Chekhov’s “The Seagull.” Later, it was the seagull that became the symbol of the Moscow Art Theater.
Konstantin Sergeevich directed all his efforts to the theater he created. In addition to directing, he began developing his own system, according to which the actor should not convey other people’s experiences. The most important task any artist - to completely immerse himself in inner world your character.
The change in power, political and social structure of society did not in any way affect the creative activity of the director. Moreover, the Soviet government strongly supported all his endeavors. In the short biography of Stanislavsky there is a place for personal acquaintance with Joseph Stalin, who loved the productions of the Moscow Art Theater, which had already acquired the status of a state theater.
Personal life
The director's first and only wife was actress Maria Petrovna Lilina. Stanislavsky had two children: a daughter, Kira Alekseeva, who became the director of the Stanislavsky House Museum, and an illegitimate son, Vladimir Sergeev, who chose the path of a historian of antiquity.
Last years
In 1928, during a performance at the Stanislavsky Theater, he suffered a heart attack. For ten years, he desperately fought the disease, continuing to create, despite severe pain. Konstantin Sergeevich passed away on August 7, 1938.
Born in Moscow in the family of industrialist Sergei Vladimirovich Alekseev and Elizaveta Vasilievna. He had nine brothers and sisters. In 1878 - 1881 he studied at the gymnasium at the Lazarevsky Institute, and later worked at a family enterprise.
The family was fond of art and theater - the Moscow house was equipped with a special theater Hall. Young Konstantin enthusiastically studied vocals and plastic arts with the best teachers, imitated the roles of the actors of the Maly Theater, performing in the home theater Alekseevsky circle. First stage debut in the role of Podkolesin in the play by N.V. Gogol’s “Marriage” took place on the amateur stage in the house of A.A. Karzinkina on Pokrovsky Boulevard in December 1884.
On the day of the premiere, a funny thing happened: “In the last act of the play, as you know, Podkolesin climbs out of the window. The stage where the performance takes place was so small that you had to climb out of the window and walk on the piano standing behind the scenes. Of course, I pushed through the lid and broke several strings. The trouble is that the performance was given only as a boring prelude to the upcoming cheerful dances. It was one of the most fun balls - but, of course, not for me.” As K.S. recalled Stanislavsky, at midnight they could not find a master to repair the piano, and he sat in the corner of the hall all evening and sang all the dances in a row.
In 1886, Konstantin was elected a member of the directorate of the Moscow branch of the Russian musical society. Later, he develops a project for the Moscow Society of Art and Literature (MOIiL) and takes the stage name Stanislavsky. The first performance of MOIiL took place on December 8 (20), 1888. For ten years acting work Konstantin Stanislavsky became a famous actor, enjoying success on a par with professional actors on the imperial stage.
In 1888, the Society of Art and Literature was founded, where young Konstantin played roles in the plays “ Stingy Knight» A.S. Pushkin, “Cunning and Love” by Schiller, Pisemsky, where he used great success as an outstanding actor of his time. At the same time, Konstantin Stanislavsky made his first directorial work based on the play “The Fruits of Enlightenment” by L.N. Tolstoy.
On June 14 (26), 1898, the work of the troupe of the Art Theater (MAT), founded by Konstantin Stanislavsky and Vladimir Nemirovich-Danchenko, began in Pushkino near Moscow. The core of the troupe consisted of amateur actors from the Society of Arts and Letters and students of the Philharmonic.
The first performance was “Tsar Fyodor Ioannovich” by A.K. Tolstoy in a joint production by Stanislavsky and A.A. Sanina. “The Seagull” by A.P. brought glory to the new theater. Chekhov, staged by Stanislavsky and Nemirovich-Danchenko. Then plays by A.P. were staged. Chekhov's "Uncle Vanya" in 1899, "Three Sisters" in 1901, " The Cherry Orchard» 1904.
Since the 1900s, Konstantin Stanislavsky has been improving his system of teaching acting.
In 1902, M. Gorky’s plays “The Bourgeois” and “At the Lower Depths” were staged as harbingers revolutionary events in which he took to the stage new hero- worker.
In 1905, an experimental Studio was created on Povarskaya Street. There was a search for new forms of conveying reality, including decorative means: against a background of black velvet, parts of the interior were schematically depicted, among which appeared actors in makeup masks and grotesque costumes.
In 1912, Stanislavsky organized the 1st Studio at the Moscow Art Theater to work with young people - he wanted to reform the performing arts.
In 1918 he headed the Opera Studio Bolshoi Theater, which later became the Opera House. K.S. Stanislavsky, where Tchaikovsky's Eugene Onegin was staged in 1922 and The Tsar's Bride in 1926.
In the 1930s, Konstantin Stanislavsky obtained from the authorities a special position for the Art Theater, equalizing it with the Bolshoi and Maly theaters. In 1932, the Art Theater was named after Gorky - the Moscow Art Theater of the USSR. Gorky.
In 1933, the building was transferred to the Art Theater former Theater Korsh for creating a branch.
In 1937, Konstantin Stanislavsky was awarded the Order of Lenin, and in 1938, the Order of the Red Banner of Labor.
Konstantin Stanislavsky died on August 7, 1938 in Moscow from heart disease and was buried at the Novodevichy cemetery.
On January 17 (January 5, old style), 1863, Konstantin Sergeevich Stanislavsky was born ( real name– Alekseev) - outstanding Russian theater director, actor and teacher, theorist performing arts, founder of the famous acting system, National artist USSR (1936).
Family, childhood and youth
Konstantin Sergeevich was born in Moscow, in the famous merchant family Alekseev. By birth and upbringing, he belonged to the highest circles of Russian industrialists, was related to all the eminent merchants and intellectuals of Moscow (with S.I. Mamontov, the Tretyakov brothers). His cousin N.A. Alekseev served as Moscow mayor from 1885 to 1893.
Fourty years future director Stanislavsky lived in his parents' house at the Red Gate. The Alekseevs, as you know, were hereditary manufacturers, specialists in the manufacture of gimp - the finest gold and silver wire from which brocade was woven. Only my grandmother, the once famous Parisian actress Marie Varley, who came to St. Petersburg on tour, had anything to do with the theater. The Frenchwoman married a Moscow merchant and remained in Russia forever, instilling in the Alekseev family a special love for theatrical art.
As a child, Kostya was a weak child. He suffered from rickets and was often sick. Until the age of ten I couldn’t pronounce “r” and “l”. But in big family The Alekseevs (there were nine children) spared no expense on their education. In addition to ordinary subjects, merchant children studied foreign languages, learned dancing and fencing. In the summer we vacationed in Lyubimovka, on the banks of the Klyazma. Celebrations with fireworks and amateur performances were held in a specially built home theater, the so-called Alekseevsky circle (1877-1888). The initiator of the theatrical ventures was the young Konstantin Alekseev.
Konstantin Sergeevich received his education at the Lazarev Institute of Oriental Languages, after which he was immediately introduced to family business. For almost ten years he worked at his father's factory and became one of its directors. My parents sent me to France more than once to study improved machines. According to some biographers of Stanislavsky-Alekseev, Konstantin successfully combined work at the factory with his theatrical activities, but never considered the family business to be the main thing in his life. He literally raved about the theater. In the evenings Konstantin Sergeevich played in Alekseevsky theater club, intensively studied plasticity and vocals with the best teachers, learned from the examples of Maly Theater actors. Among his idols were Lensky, Musil, Fedotova, Ermolova. In 1885, Konstantin Alekseev was elected a member of the directorate and treasurer of the Moscow branch of the Russian Musical Society and its conservatory. Together with the singer and teacher F.P. Komissarzhevsky and artist F.L. Sollogub Konstantin Sergeevich is developing a project for the Moscow Society of Art and Literature (MOIiL), investing personal financial resources in it. The impetus for the creation of the Society was a meeting with director A.F. Fedotov: in his play “The Players” based on Gogol, K.S. Alekseev played Ikharev. A successful relative, Moscow mayor Nikolai Alekseev, learning about his cousin’s idea, frowns: “Kostya doesn’t have what he needs in his head.”
In order not to disgrace the family name, Konstantin adopted the stage name Stanislavsky (in honor of the talented amateur artist Dr. Markov, who performed under this name), but was never able to leave the family business for the sake of art.
A very typical case was when in the spring of 1892. Konstantin Sergeevich went abroad in order to study gold-plating production at the best European enterprises. But when he returned to Moscow, he was met at the station not by anyone, but by the entrepreneur of the Maly Theater, who fell at his feet with a request to replace the actor Yuzhin, who suddenly fell ill on tour, in Yaroslavl. And what? Actor Stanislavsky immediately prevailed over manager Alekseev. He forgot about his loved ones who were waiting for him at home, about the report abroad and - from station to station - in the evening he played in Yaroslavl in the play “The Lucky Man”...
The father was furious. S. V. Alekseev was able to get a report on his son’s trip from Konstantin only after the end of the Maly Theater’s tour. And Konstantin received his father’s forgiveness only after he presented to the Board of the Partnership a bold project to reorganize factory production. The project finally showed that Konstantin Sergeevich could subsequently head the family business.
The beginning of a creative journey
The first performance of the MOIiL founded by Stanislavsky took place on December 8 (20), 1888. Over ten years of work on the stage of the Society, Alekseev-Stanislavsky became famous actor. His performance of a number of roles was compared with the best works of professionals on the imperial stage, often in favor of the amateur actor: Anania Yakovlev in “Bitter Fate” (1888), Paratov in Ostrovsky’s “Dowry” (1890); Zvezdintsev in Tolstoy’s “Fruits of Enlightenment” (1891). Stanislavsky’s first directorial experience, Gnedich’s “Burning Letters” (1889), took place on the stage of Moscow Institute of Literature and Literature.
Next to the actor Stanislavsky, Maria Petrovna Perevoshchikova, who took the stage name Lilina, shone on stage. The granddaughter of a Moscow professor, the daughter of a venerable notary, who graduated from the Catherine Institute noble maidens with a big gold medal, she also decided to devote herself to the theater, against the wishes of her parents. On July 5 (17), 1889, Stanislavsky married her in the Lyubimov Church.
Route honeymoon the newlyweds were traditional - Germany, France, Vienna... In March 1890, a daughter, Ksenia, was born into the family, but she soon fell ill with pneumonia and died on May 1. In July next year Another daughter was born, who was named Kira, and a few years later a son, Igor, appeared in the family.
Despite his passion for innovation in art, in his personal life Konstantin Sergeevich was distinguished by constancy and valued his family hearth very much. He was faithful to Maria Petrovna, but was wary of other women: “In this regard, I am an egoist. You’ll get carried away and leave your wife and children...” Stanislavsky allowed himself to “get carried away” only on stage.
Since January 1891, Stanislavsky officially took over the leadership of the director's department at the Society of Arts. He staged the performances “Othello” (1896), “ Polish Jew"Erkman-Chatrian (1896), "Much Ado About Nothing" (1897), "Twelfth Night" (1897), "The Sunken Bell" (1898), etc. During this period, according to the definition he later formulated, Stanislavsky was looking for "director's techniques for identifying the spiritual essence of a work”: he used authentic antique or exotic objects, experimented with light, sound, and rhythm. However, Shakespeare's "experimental" productions were clearly considered unsuccessful by the public and critics. The play "Othello" directed by Stanislavsky (where the director himself played main role) barely lasted four performances and ended in complete failure. Stanislavsky was inclined to blame the actors’ “routine approach” to performance, the use of hackneyed “cliches” in the game, and complained about the urgent need for stage reforms. Subsequently, Konstantin Sergeevich himself never undertook to stage Shakespeare, even on the stage of the Moscow Art Theater, leaving the work on these productions to other directors.
Oddly enough, actor Stanislavsky continued to combine his creative activity with the activity of a manager at the Alekseev family enterprise.
In 1893, the death of his father and tragic death cousin Nikolai Alekseev forced Konstantin Sergeevich to take the management of the factory seriously. He visited the factory almost every day, finally got involved in business and was elected director of the Management Board. The Board included eight more people: two Stanislavsky brothers - Vladimir and Boris, E.K. Buchheim; the Shamshin family - two brothers, the elder brother’s wife and her brother (S.V. Lepeshkin), as well as P.I. Vishnyakov.
The Alekseev factory traded through representatives and regional offices, who had to spend a lot of time pleasing clients, while the task of the factory Board was to manage fairly simple and stable production, obtain government orders and bank loans for business development. The Director of the Management Board began to skillfully rebuild the management.
Delegating powers and avoiding solving minor financial issues, avoiding petty control over branches and representative offices, Konstantin Sergeevich managed to find time to develop his passion for the stage without much damage to business. In fact, he did everything to ensure that the factory did not lose profitability and generate income: after all, the theater also required expenses. For many years, Stanislavsky was literally torn between his responsibilities as a businessman and his theatrical profession and family.
His 1896 letter to his wife about a dinner in honor of S.Yu. is very indicative. Witte (Minister of Finance of the Russian Empire):
“Oh, my dear, how funny, boring and untalented everyone seemed to me! Oh, how desperately unbearable it is to act like one all evening business man and talk about money. Our chosen merchants did not say a single living, sincere and talented word, but we had to sit in full view of Witte so that he could see and realize that we were grateful to him for some kind of duty. I sat the whole evening and pretended that I understood and was interested in what he was saying. Don’t believe me, I didn’t understand anything because I was flapping my ears and thinking about you.”
It must be said that Stanislavsky’s wife M.P. Lilina had a negative attitude towards Konstantin Sergeevich’s participation in the Alekseevs’ business. Her husband’s relatives did not accept the “actor,” and Maria Petrovna had no choice but to demand from her husband that he devote less time to the factory and more to his family and theater. But the factory remained the main source of wealth. The skills acquired while managing it helped Stanislavsky in organizing the Moscow Art Theater, and family differences smoothed out when the children grew up. Maria Petrovna Lilina again appeared on stage and became a full member of the Moscow Art Theater Association.
Moscow Art Theater
Dissatisfaction with the state of the scene in late XIX century, the desire for stage reforms, the denial of stage routine provoked the search for almost all famous theatrical figures of that era: A. Antoine and O. Bram, Yuzhin at the Moscow Maly Theater and Nemirovich-Danchenko at the Philharmonic School. In 1897, the latter invited K.S. Stanislavsky to meet and discuss a number of issues relating to the state of the theater. Stanislavsky saved business card, on the back of which it is written in pencil: “I’ll be at the Slavic Bazaar at one o’clock - won’t I see you?” He signed the envelope: “The famous first date-sitting with Nemirovich-Danchenko. The first moment of the theater’s founding.”
During this legendary conversation, the tasks of the new theater business and the program for their implementation were formulated. The conversation lasted eighteen (!) hours. According to Stanislavsky, they discussed “the foundations of the future, issues of pure art, our artistic ideals, stage ethics, equipment, organizational plans, projects for the future repertoire, our relationships.” The composition of the troupe, the backbone of which would be young, intelligent actors, and the modest and discreet design of the hall were discussed. At the same time, they divided responsibilities (the literary and artistic veto belongs to Nemirovich-Danchenko, the artistic veto to Stanislavsky) and sketched out a system of slogans by which the theater would live. We discussed the range of authors (Ibsen, Hauptmann, Chekhov) and the expected repertoire.
Almost a year later, June 14 (26), 1898 in the Moscow region dacha place Pushkino began the work of the Moscow Art Theater troupe, created from Nemirovich’s students at the Philharmonic and amateur actors from the Society of Art and Literature. Before the start of the rehearsal work, Konstantin Sergeevich said:
“...We took on a business that was not of a simple, private, but of a public nature. We strive to create the first intelligent, moral public theater, and to this lofty goal we devote our lives.”
Subsequently, speaking about the program of the Art Theater, Stanislavsky called it truly revolutionary:
“We protested against her old manner of acting, and against theatricality, and against false pathos, declamation, and against the acting, and against the bad conventions of staging, scenery, and against the premiership, which spoiled the ensemble, and against the entire structure of the performances, and against the insignificant repertoire of the theaters of that time."
In the very first months of rehearsals, it became clear that the division of “artistic” responsibilities among theater managers was conditional character. Rehearsals for “Tsar Fyodor Ioannovich” were started by Stanislavsky, who created the mise-en-scène of the play, which shocked the audience at the premiere, and Nemirovich-Danchenko insisted on choosing his student I.V. for the role of Tsar Fyodor from six candidates. Moskvina. In individual lessons with the artist, he helped create a weak-willed, but touching image“The peasant king”, who became the opening of the performance.
Stanislavsky believed that “Tsar Fedor” began the historical and everyday line at the Moscow Art Theater, to which he attributed the productions of “The Merchant of Venice” (1898), “Antigone” (1899), “The Death of the Terrible” (1899), “The Power of Darkness” ( 1902), “Julius Caesar” (1903) and others. He connected another with Chekhov the most important line productions of the Art Theater: the line of intuition and feeling. Here Stanislavsky included “Woe from Wit” (1906), “A Month in the Country” (1909), “The Brothers Karamazov” (1910), “Nikolai Stavrogin” (1913), “The Village of Stepanchikovo” (1917), etc.
At the Moscow Art Theater, Stanislavsky managed to distribute responsibilities quite successfully. Having shouldered literary part to Nemirovich-Danchenko, administrative - to S.T. Morozov (and then - to A.A. Stakhovich), Konstantin Sergeevich got the opportunity to focus exclusively on creative work. In addition, Stanislavsky acted as an arbiter in the intra-theater struggle for administrative power, which the innovative director himself was of little interest to. It was important to him that organizational problems did not subordinate creative ones.
The merchant-Alekseev and the artist-Stanislavsky were constantly in clear interaction with each other, sometimes entering into conflicts.
His letter to Nemirovich-Danchenko during the latter’s quarrel with Morozov (early 1900) is indicative:
“I am ready to share my work and success with anyone, maneuvering between egos, trying to quietly sew up all the seams; I not only refuse money, but for the right to do what I love, I cross out 10,000 rubles from my budget every year, contribute the last of my money to the business, deprive my family and myself of the most necessary things and, somehow dodging financially, patiently wait for all the debts of the business to be covered and I will get what rightfully belongs to me... I also put up with the fact that I have to play and (often) play not what my soul asks for, I play everything I need, and not what I want. In a word, I am destroying myself both morally and financially and I don’t complain about it until my nerves reach the last degree of tension.”
Until the First World War, Stanislavsky’s schedule included “factory” and “theater” days, during which he could completely devote himself to his favorite work.
Theatrical "divorce"
The most significant performances of the Art Theater, such as “Tsar Fyodor Ioannovich” by A.K. Tolstoy, “The Seagull”, “Uncle Vanya”, “Three Sisters”, “The Cherry Orchard” by A.P. Chekhov was staged jointly by Stanislavsky and Nemirovich-Danchenko. In Chekhov's subsequent productions, the discoveries of "The Seagull" were continued and brought to harmony. The principle of continuous development united a scattered, scattered life on stage. A special principle of stage communication (“an object outside the partner”), incomplete, semi-closed, was developed. The viewer at Chekhov's performances at the Moscow Art Theater was pleased and tormented by the recognition of life, in its previously unimaginable detail. Chekhov is especially bright (even in comparison with European representatives new drama) showed that silence, a pause, simple human speech, not rhymed or decorated with metaphors, can become an equally powerful means. Thus, at the turn of the century, a confrontation between the “Shakespearean” and “Chekhovian” lines arose (usually not realized by either theater workers or actors), which would pass through the entire twentieth century. Stanislavsky, who admired Shakespeare, associated his main contribution to theatrical art with the “Chekhov line.” His “system” got along well with the dramaturgy of Chekhov and Gorky, allowing the theater to attract audiences not with external effects, costumes, or scenery, but with the content of the play and the performance of the actors.
IN working together Gorky's play “At the Depths” (1902) revealed the contradictions between two approaches. For Stanislavsky, the impetus was a visit to the shelters of the Khitrov market. His directorial plan is full of sharply observed details: Medvedev’s dirty shirt, shoes wrapped in outerwear, on which Satin sleeps. Nemirovich-Danchenko looked for “cheerful lightness” on stage as the key to the play. Stanislavsky admitted that it was Nemirovich-Danchenko who found “the real manner of playing Gorky’s plays,” but he himself did not accept this manner of “simply reporting the role.” The poster for “At the Lower Depths” was not signed by either director. From the beginning of the theater, both directors sat at the director's table. Since 1906, “each of us had our own table, our own play, our own production,” because, explains Stanislavsky, everyone “wanted and could only follow his own independent line, while remaining faithful to the general, basic principle of the theater.”
The first performance where Stanislavsky worked separately was Brandt. At this time, Stanislavsky, together with Meyerhold, created the experimental Studio on Povarskaya (1905). During the period of fashion for decadence, Stanislavsky staged in 1907 experimental performances “The Drama of Life” by K. Hamsun and “The Life of Man” by L. Andreev. These experiments brought nothing but grief and disappointment. In the plays of the Symbolists there is a completely different system of feelings than in the works of Chekhov or Gorky. Experiences in searching for new theatrical forms Stanislavski would then continue with Maurice Maeterlinck's The Blue Bird (1908): the black velvet effect and lighting techniques were used to create magical transformations. It was a triumph for Stanislavsky. The performance stood out for its complete, perfect fusion of acting, music, and scenography into a single whole. The voices of the actors sounded ghostly, intertwining into a single melody; the choirs sang, endlessly repeating “We are in a long line following the Blue Bird, following the Blue Bird, following the Blue Bird...”.
When creating the Moscow Art Theater, Stanislavsky believed Nemirovich-Danchenko that tragic roles were not his repertoire. On stage, the Moscow Art Theater completed only a few of his previous tragic roles in performances from the repertoire of the Society of Arts and Letters (Henry from The Sunken Bell, Imshin). In the productions of the first season, Stanislavsky played Trigorin (The Seagull) and Levborg (Edda Gabler). According to critics, his masterpieces on the Moscow Art Theater stage were the following roles: Astrov (“Uncle Vanya”), Vershinin (“Three Sisters”), Satin (“At the Depths”), Gaev (“The Cherry Orchard”), Shabelsky (“Ivanov,” 1904). The duet of Vershinin - Stanislavsky and Masha - Knipper-Chekhova entered the treasury of stage lyrics.
Stanislavsky's "System"
Despite successful director's work, Stanislavsky continues to set himself more and more new tasks in acting profession. He demands from himself the creation of a system that could give the artist the opportunity for public creativity according to the laws of the “art of experience” at every moment of being on stage, an opportunity that opens up to geniuses in moments of the highest inspiration.
In 1910, cut off from the theater by a long illness, Stanislavsky delved into the study of the “life of the human spirit” of the actor on stage. He discovers more and more new elements of his “system”, clarifies the laws that underlie acting art. He borrows from Gogol the definition of the “nail” of the role, then finds his own - “through action”. New terms and concepts are coming into use in the theater - “pieces”, “tasks”, “affective memory”, “communication”, “circle of attention”. With the help of his closest friend and colleague L.A. Sulerzhitsky, he created in 1912 at the Moscow Art Theater the so-called First Studio for young actors. Your search in the area theater theory and Stanislavsky transferred pedagogy here. However, Konstantin Sergeevich, overloaded with work at the Moscow Art Theater, works with studio students only in fits and starts. The course of classes according to the Stanislavsky system is taught by Sulerzhitsky. The studio's productions of "The Death of Hope" by Geijermans and "The Cricket on the Stove" by Charles Dickens were successful. According to Stanislavsky himself, they discovered in young performers “a simplicity and depth hitherto unknown to us” and clearly proved the fruitfulness of applying the principles of his system.
First World War and Revolution
Stanislavsky met the World War in the European resort of Marienbad. While the crowded train from Munich was heading to the Lindau border station, the deadline set for the departure of foreigners from Germany expired. Interrogations, searches... C with great difficulty Stanislavsky managed to return to Russia. He turned out to be the only director of the Alekseev gold-plating factory who considered it immoral to profit from the war.
“I had a small incident at the factory, and I gave up both incredible income and salary. It’s true that it hurts your pocket, but it doesn’t stain your soul,” he writes to his daughter.
Stanislavsky the director finally defeated the businessman Alekseev. He opposes the war and thirst for profit of his former business partners solemn peace"Little tragedies" by Pushkin. Stanislavsky, Nemirovich-Danchenko and Alexander Benois as an artist and director.
In 1916, Stanislavsky opened the Second Studio. It is headed by the Moscow Art Theater director V. Mchedelov.
Stanislavsky’s acting fate was especially affected by two of his last works: Salieri in the tragedy “Mozart and Salieri” by Pushkin (1915) and Rostanev, whom he was supposed to play again in the one that had been in preparation since 1916 new production"Sela Stepanchikova". The reason for the failure of Rostanev’s role, which was never shown to the public, remains one of the mysteries of the history of theater and the psychology of creativity. According to many testimonies, Stanislavsky “rehearsed perfectly.” After the dress rehearsal on March 28 (April 10), 1917, he stopped working on the role and forever refused new roles (he broke this refusal only out of necessity, during a tour abroad in 1922–1924, he agreed to play Voivode Shuisky in the old play “Tsar” Fyodor Ioannovich").
Revolutionary upheavals had a disastrous effect on theatrical life Moscow. For six years - from 1918 to 1923 - the Moscow Art Theater showed only two premieres ("Cain" and "The Inspector General"), one of which is a revival of an old play. “Cain” began to be rehearsed in 1919, but Stanislavsky was soon taken hostage during the White breakthrough to Moscow, and the production had to be postponed. The director saw this performance as a mystery play set in a Gothic cathedral. Unfortunately, “Cain” had to be shown unfinished in 1920, and the audience received it coldly.
The general crisis of the theater was aggravated by the fact that a significant part of the troupe led by Kachalov, who went on tour in 1919, found themselves cut off from Moscow by war events. The production of The Inspector General (1921) was an unconditional victory. For the role of Khlestakov, Stanislavsky called Mikhail Chekhov, who had recently transferred from the Moscow Art Theater (the theater had already been declared academic) to the 1st studio.
Abroad
In 1922, the Moscow Art Theater, under the direction of Stanislavsky, went on a long foreign tour of Europe and America, which was preceded by the return (not in full strength) of the Kachalovsky troupe. The popularity of Konstantin Sergeevich as a director and creator of the system acting everything increases. Chicago, Philadelphia, Detroit, Washington... Stanislavsky plays, rehearses, attends receptions, clubs, concert halls, and at night writes the script for the film “The Tragedy of Nations” about Tsar Fyodor Ioannovich for a Hollywood company.
At the suggestion of an American publishing house, Stanislavsky begins work on a book about the theater. Publishers demand that the manuscript be submitted on time, and the director has to write in fits and starts - during intermissions, on trams, and somewhere on the boulevard... The book “My Life in Art” will be published in 1924 in Boston. The book will be published in Russian only in 1926. It will be translated into many languages, including English, because Stanislavsky considered the new, Moscow edition to be the main one.
Konstantin Sergeevich spends the summer at German resorts, the autumn in Paris, in rehearsals, in preparation for a new cycle of tours; sails to New York in November. In America, he finds that ordinary Americans “are extremely friendly with the Russians. They sincerely love us Russians.” Businessmen are a different matter: when it comes to the dollar, “they are very unpleasant.” Entrepreneurs are ruthless, merciless, and the law is always on their side. The slightest violation contract, and the trouble is “walk on the sea.”
Stanislavsky and the Moscow Art Theater in the 1920s-1930s
In the mid-1920s, the issue of changing theatrical generations at the Moscow Art Theater became acute. The general revolutionary confusion and the search for even more “new” forms in art threatened the very existence of the theater and the entire “Mkhat” school created through the efforts of Stanislavsky.
Returning from a foreign tour in August 1924, Stanislavsky suddenly discovered that in Moscow “enormous changes had taken place, primarily in the composition of the audience themselves.” In a letter to his son Igor, he reports that they were forgotten in Moscow - they do not bow on the streets, that criticism is mostly hostile towards the theater. In the press of those years, accusations of “backwardness,” “unwillingness” to accept revolutionary reality, and sabotage sounded more and more persistently. The activities of the Moscow Art Theater took place in an atmosphere of rejection of the “academic and bourgeois theater” by influential Proletkultists and Lefovites, who addressed socio-political accusations against the Art Theater. Stanislavsky entered the fight, wanting, first of all, to defend the traditional artistic values Russian stage art and the “system” it created.
In the same 1924, the 1st and 3rd studios of the Art Theater, under the influence of Proletkult propaganda, declared their independence. Only studio members of the 2nd studio join the theater troupe: A.K. Tarasova, O.N. Androvskaya, K.N. Elanskaya, A.P. Zueva, V.D. Bendina, V.S. Sokolova, N.P. Batalov, N.P. Khmelev, M.N. Kedrov, B.N. Livanov, V.Ya. Stanitsyn, M.I. Prudkin, A.N. Gribov, M.M. Yanshin, V.A. Orlov, I.Ya. Sudakov, N.M. Gorchakov, I.M. Kudryavtsev and others. Stanislavsky painfully experiences the “betrayal” of his students, giving the Moscow Art Theater studios the names of Shakespeare’s daughters from “King Lear”: Goneril and Regan - 1st and 3rd studios, Cordelia - 2nd.
The production of “A Warm Heart” (1926) was a response to those critics who asserted that “The Art Theater is dead.” The rapid lightness of the tempo and picturesque festivity distinguished Beaumarchais’s “Crazy Day, or the Marriage of Figaro” (1927) (scenery by A.Ya. Golovin).
And literally a landmark production for younger generation studio students of the Art Theater became the play by M.A. Bulgakov “Days of the Turbins” (1926). It was a production by aspiring director I.Ya. Sudakov, in which future “stars” played brilliantly Soviet theater and cinema: O. Androvskaya, N. Khmelev, M. Prudkin, M. Yanshin. Stanislavsky actively participated in the selection of actors and the fight with the authorities to allow the scandalous performance on the stage of the Moscow Art Theater.
After a severe heart attack that occurred on the anniversary evening of the Moscow Art Theater in 1928, doctors permanently banned K.S. Stanislavsky to take to the stage. Stanislavsky returned to work only in 1929, but now his activities focused on theoretical research, pedagogical tests of the “system” and studies in his Opera studio, which existed since 1918 ( Opera theatre named after K.S. Stanislavsky).
For the production of “Othello” at the Moscow Art Theater, he wrote the director’s score for the tragedy, but he himself did not take part in the production of the play. The score, act by act, was sent along with letters from Stanislavsky from Nice, where the ailing director hoped to complete his treatment. Published in 1945, the score remained unused because I.Ya. Sudakov managed to release the play even before the end of Stanislavsky’s work.
In the early 1930s, Stanislavsky, using his authority and the support of Gorky, who had returned to the USSR, turned to the government to achieve a special position for the Art Theater. They went to meet him halfway. In January 1932, the theater received the name of the Moscow Art Theater of the USSR, in September 1932 the theater was named after Gorky, in 1937 it was awarded the Order of Lenin, in 1938 - the Order of the Red Banner of Labor. In 1933, the Moscow Art Theater was given the building of the former Korsch Theater, where a branch of the Moscow Art Theater was formed. A museum was organized at the theater (1923) and an experimental stage laboratory (1942). The art theater was declared the main stage of the country. The danger of the Moscow Art Theater turning into an ordinary theater, as well as the danger of its capture by RAPP, was averted, but the theater risked remaining defenseless against another threat - being strangled in the arms of power.
In the 1932-1933 season, Konstantin Sergeevich produced the plays “Dead Souls” based on Gogol and “Talents and Admirers” by A.N. Ostrovsky. These are his last productions on the stage of the Moscow Art Theater. The seriously ill Stanislavsky spends most of his rehearsals of Ostrovsky's play in his office, reclining on the sofa. These were rather acting classes, according to the method developed by Stanislavsky physical actions: flu, heart attacks, pulse irregularities, pain and daily work with actors and directors of the Art and Opera theaters.
Opera performances by Stanislavsky
Organization plans Theater Academy ended in the spring of 1935 with the opening of the State Opera and Drama Studio. Konstantin Sergeevich was appointed its director.
Stanislavsky's opera performances are a separate topic. Konstantin Sergeevich staged in various genres: fairy tales (“The Snow Maiden”, “The Golden Cockerel”, “ May night"), romantic (" Queen of Spades", "Rigoletto", "Cio-Cio-san"), comedy ("The Secret Marriage" by Cimarosa, "Don Pasquale" by Donizetti, " Barber of Seville"Rossini), " folk drama"(Boris Godunov, The Tsar's Bride), lyrical and everyday life (Eugene Onegin, La Boheme).
Konstantin Sergeevich’s main assistant in the “opera” business was his sister Zinaida Sergeevna Sokolova (1865-1950). In the Opera and Drama Studio K.S. She taught Stanislavsky great job to train teachers of his brother’s “system” for opera artists.
Stanislavsky's “System” does not at all detract from the specificity of the opera. The director himself attached great importance to vocals. The best teachers of our time worked with his studio students. At the same time, Konstantin Sergeevich believed that the main principles of creating an image by an opera actor are basically the same as the principles of creating an image by a dramatic actor.
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Thus, in the play “Eugene Onegin,” the actors, trained by Stanislavsky and his followers, were able to fill the conventional form of the opera with deep psychological content, living feelings, and behavior. Stanislavsky laid the foundation musical theater stage ensemble (until now the stage ensemble was considered the privilege of the dramatic theater).
The final
January 1938. The celebration of Stanislavski's 75th birthday was turned into an official celebration by the Soviet government. Countless greetings come from all over the country and from abroad. Leontyevsky Lane, where Konstantin Sergeevich lives, is renamed Stanislavsky Street.
Does the oldest and sickest director need all these honors? Nobody thought about this. Overcoming an ever-increasing weakness, Konstantin Sergeevich grabs onto work as the only thing that can prolong his life: he is keen on applying the method he discovered of working on a play at the rehearsals of Moliere’s “Tartuffe”.
Already terminally ill, Stanislavsky was brought the layout of his book “An Actor’s Work on Oneself” to sign for printing.
Remembering the last years of Stanislavsky’s life, nurse Dukhovskaya will say: “He won time from death.”
The autopsy showed that the last ten years were truly won from death by the power of will and mind: an enlarged, failing heart, emphysema, aneurysms - a consequence of a severe heart attack back in 1928.
“Sharply expressed arteriosclerotic changes were found in all vessels of the body, with the exception of the brain, which did not undergo this process,” is the conclusion of the doctors.
“Stanislavsky was not afraid of death,” Yu.A. writes in his memoirs. Bakhrushin, son of the founder of the Moscow Theater Museum, - but hated it as the opposite of life.”
Based on materials:
"DIAMOND SYSTEM" STANISLAVSKY
Many outstanding people similar precious stones: They are just as rare and versatile. The great Russian director and theater reformer Konstantin Sergeevich Stanislavsky was such a person. This is common knowledge.
But much less known is another facet of his talent - his talent as an engineer.
We will talk about it briefly now.
Let's start our story with... an ancient Indian legend.
Far, far away, in inaccessible mountains lay a diamond in the shape of a cube, each face of which was equal to one meter. Once every millennium, a raven flew to the diamond block to sharpen its beak. When the entire diamond cube was ground down by the crows, only one single moment of Eternity had passed...
In this poetic legend There is enough data to make a simple calculation. Knowing the abrasion rate of a diamond and the hardness of a crow's beak (let's take it equal to 500 kg per square millimeter - after all, a crow's beak is so hard that it can crush bone), we can assume that approximately 1/2500 of a carat of diamond will be spent on one sharpening of the beak. The weight of the cube is 17.5 million carats. Thus, it will be completely worn out in about 4.5 trillion years. This, according to Indian legend, is the price of one single moment of Eternity...
But such is the price of a diamond’s durability, we add!
And now let's return from the legend to reality. Let's see how it is used in modern technology, primarily in drawing, high resistance of diamond against abrasion.
In Russia, the history of drawing technology and its main tool - the die (or, in other words, the die) is closely connected with the name... Konstantin Sergeevich Stanislavsky (real name - Alekseev).
Stanislavsky's father, Sergei Vladimirovich Alekseev, led the trade and industrial partnership "Vladimir Alekseev", which owned a gold-plating factory (now the Moscow Elektroprovod plant). An engineer by training, Konstantin Sergeevich also worked at this factory. Here, thin threads were made from gold and silver wire by drawing - gimp, which was used in weaving brocade and for gold and silver embroidery. The thread was obtained by pulling metal wire through steel plates with holes or through holes in sapphire plates. But such dies wore out extremely quickly, and it was impossible to obtain with their help a very thin, and most importantly, evenly uniform thread along the entire length. It was necessary to change worn-out dies very often, stopping the drawing machines.
Let us note in passing that the record for Russian drawing technology was a red copper thread drawn at a factory in 1862 through a hardened steel wire “of such fineness that one pood of it was up to 700 versts in length.”
In 1892, K. S. Stanislavsky-Alekseev went abroad to study the gold-plating business. He visited Germany, Switzerland and France. And there he saw diamond drawing machines. Diamond dies were made from jewelry stones of 0.5 carats each, inserted into massive steel cylindrical holders. He really liked the machines, and he bought “a machine that immediately pulls goods through 14 diamonds. In other words, a very thick wire comes out of one end of the machine, and completely finished wire comes out of the other.” Its diameter was no longer 60, but 30 microns.
Thus, for the first time in Russia, through the efforts of K.S. Stanislavsky and his colleague engineer T.M. Alekseenko-Serbin created a workshop for diamond drawing of microwire.
Diamond drawing, used by K. S. Stanislavsky in gold-plating, turned out to be an extremely important, truly revolutionary technological process for the incandescent lamp industry, and then for the production of electronic radio tubes. After all, only with the help of diamond wire was it possible to move from the previous carbon (fragile, short-lived, very uneconomical) filament to luminous filaments made of such refractory and resistant materials as osmium, and then tungsten (remember that osmium melts at 2500, and tungsten - at 3410 degrees Celsius). New luminous filament, improvement in pumping air from glass cylinders, and electric lamp immediately gained durability: 1000-1500 hours of continuous operation versus 300-400 hours of “life” of lamps with carbon filament. This durability is the result of strict sizing of the thread, which was achieved by taking advantage of diamond's high abrasion resistance.
Millions of kilometers of tungsten and other refractory metals and alloys now pass through the diamond eye to become the cathodes and anodes of electric and electronic lamps. In addition, almost all ultra-thin copper and other microwires with a diameter of up to 15 microns (six times thinner than a human hair!) are pulled through the diamond die to produce modern microminiature devices.
Typically, it is possible to stretch 17-18 thousand km of microwire through a diamond die. After this, the die can be repolished to draw thicker wire. But diamond dies have their own champions. Thus, one of them turned out to be amazingly resistant: it was possible to stretch a microwire with a total length of 450 thousand km through it. This amount of microwire could be wrapped around the globe eleven times around the equator, and there would still be a “tail” of 10 thousand km left.
If they ever begin to compile a chronicle of drawing technology, one of the first to be named will be the name of the Russian engineer Konstantin Sergeevich Stanislavsky - the pioneer of another famous system - the diamond one!
G. MISHNEVICH, Leningrad
Journal article " Young technician", 1970, No. 8, pp. 42-43
Stanislavsky Konstantin Sergeevich is a man who went down in the history of theatrical art. In addition, even people far from theater and drama know who Konstantin Sergeevich is. Because famous quote“I don’t believe it” became catchphrase and is used by almost everyone at least once in their life. Therefore, it is worth getting to know the person who introduced this expression into circulation. In addition, we will talk about such a person as Danchenko-Nemirovich, who contributed to acting. Photos can be seen on the Internet or textbooks on theatrical art.
Konstantin Stanislavsky has another real surname, Alekseev. Year of birth - 1863. Born into a family of intellectuals who were famous for their good manners and belonged to large industrialists.
Therefore, it is difficult to say that Konstantin Stanislavsky grew up in harsh conditions and led a hungry childhood, like many celebrities. After graduating from university, young K.S. Stanislavsky got a job in a family company. But he didn't work there for too long.
The family was fond of theater. Therefore, the estate in Lyubimovka, or rather part of it, was rebuilt into a theater, where K. S. Stanislavsky began working in theatrical art and in this he was helped by choreography and vocal masters.
Soon K.S. Stanislavsky is elected as a member of the music society commission. He is working on a project to create a literary society, investing his own money in it. At the same time, he does not stop studying at the Lyubimovka estate, photos of which are still displayed on the Internet.
Over the several years of the existence of such a society, K. Stanislavsky managed to play dozens of roles, attracting attention and creating for himself the image of an excellent actor. Since 1892, K. Stanislavsky became a creative organizer and tried himself as a screenwriter and director. According to the quote, he was looking for directorial techniques that would show actor's essence works. K. Stanislavsky uses Meiningen techniques and uses esoteric objects, adjusting sounds and light in different ways. Subsequently, a production based on Dostoevsky’s “The Village of Stepanchikova” appeared.
Creation of a new theater
At the end of the 19th century, K. Stanislavsky was no longer satisfied with his work and was in search of something new, as his biography says. Then the search led to Danchenko-Nemirovich. Danchenko - Nemirovich invited K. Stanislavsky to meet and discuss the creation of a new theater. As K.S. himself said earlier. Stanislavsky, Nemirovich’s business card became the main memory before the creation of the Moscow Art Theater, whose photos anyone will recognize.
After this meeting, issues related to the composition of the group, the concept of the theater, repertoire and distribution of roles were discussed. Danchenko-Nemirovich studied literary work, and K. Stanislavsky only artistic. Since then, K. Stanislavsky began to appear less often at the estate in Lyubimovka, because he devoted himself to a new business.
And after a couple of years, the first rehearsals with the new troupe took place in Pushkino. But the division of responsibilities turned out to be only conditional. Because both K. Stanislavsky and Nemirovich-Danchenko did everything that came to hand.
In 1902, there was a divergence of views on the production of plays on the part of K. Stanislavsky and Nemirovich-Danchenko. Because, as Stanislavsky said, Danchenko found the right approach to realizing his plan. In addition, at this time K. Stanislavsky realized that tragic roles were not his strong point.
In 1905, Stanislavsky, together with Meyerhold, in addition to the Moscow Art Theater, created a new experimental group, but not on the territory of the Lyubimovka estate, but on Povarskaya. Then new directorial techniques are used that no one has seen before: velvet, fragments of interiors, lighting equipment for magical performances and magic, makeup and masks, photo collages.
Even after Nemirovich-Danchenko’s words that tragedies are not for him. K. Stanislavsky continues to improve and develop. He is developing a system that will accurately depict the actor's experience in public at every minute of the performance.
Work of the Moscow Art Theater
If we talk about the super task that K. Stanislavsky set for himself, then it was not feasible. Because it was necessary not just to play a role, but to create a system that would allow one to get used to the role and live it. Therefore, when assessing the performance of his actors and subordinates, Stanislavsky told them the quote “I don’t believe it.” He might not have said this, but then none of the protégés would have been able to achieve the results and success that they soon received. K. Stanislavsky cultivated realism in them. He, and not Nemirovich-Danchenko, because with latest relationship were almost torn apart after the division of the Moscow Art Theater into several theater groups, which had their own leaders.
Even footage has been preserved where K.S. Stanislavsky says popular quote when trying out a role for a young actress. Then you could hear the advice that the master gave, according to his system. Such footage and photos can rightfully be considered a treasure. Because they still carry value for actors and directors in the theater. Even harmless performances at the Lyubimovka estate would not have been complete without the quote “I don’t believe it.”
It is worth noting that even after the death of master K. Stanislavsky, Nemirovich himself said that the whole world and the acting family were orphaned because he died great person. It is also noteworthy that no one else said the phrase “I don’t believe” after Stanislavsky left.
What is Stanislavsky's secret?
Despite the death of K.S. Stanislavsky in 1938 in Moscow, the famous system remained, which is now a kind of base for the work of progressive theater schools. Even in the Lyubimovka estate, rehearsals were held in accordance with the recommendations, the principles of which are set out in two autobiographical works: “My life in art” and “The actor’s work on himself.”
Now there are only a few of those actors left whose work is considered great art. As for new TV series and films, we can say with confidence that the actors would have heard the quote “I don’t believe it” from K. Stanislavsky.
Giftedness given at birth
You need to understand that this man was gifted and talented in absolutely everything. After all, he did not immediately become a famous actor and director.
At first he worked at the family company, then became a director. And they produced thinning wire from silver and copper. Which is also considered a work of art. After that, in the evenings, they studied with the whole family at their estate in Lyubimovka.
From his youth, K. Stanislavsky studied with teachers, so he danced and sang well. Apparently, he got his talent from his grandmother, French actress.
Stanislavsky established himself not only as an outstanding actor, who was noticed from the very first performances, but also as a talented director. After all, what is the Moscow Art Theater worth and modern theater. Although K. Stanislavski never performs after he began directing, he still makes an exception once, abroad. He remains a theorist and developer brilliant system, so he is still an example for aspiring actors.
After death, not only the system remained, but also books, operating principles, photos, footage from performances, talented students and the famous quote “I don’t believe it.” After all, she will forever remain in the history of the world.
Such people create an era, make the world a little brighter. It is worth focusing on such individuals and achieving the same success. Because you can only become better if you follow the example of the best people and set goals that initially seem unattainable.
Stanislavsky Konstantin Sergeevich (real name - Alekseev) (1863 - 1938)
The first role of K.S. Stanislavsky.
He began his stage experiments in 1877 in his home Alekseevsky circle. He studied plastic arts and vocals intensively with the best teachers, learned from the examples of the actors of the Maly Theater, among his idols were Lensky, Musil, Fedotova, Ermolova. He played in operettas: “The Countess de la Frontière” by Lecoq (chieftain of the robbers), “Mademoiselle Nitouche” by Florimore, “The Mikado” by Sullivan (Nanki-Poo).
On the amateur stage in the house of A. A. Karzinkin on Pokrovsky Boulevard in December 1884, his first performance took place as Podkolesin in Gogol’s “Marriage.”
Among the roles in the theater are Trigorin ("The Seagull" by A.P. Chekhov; 1898), Baron ("The Miserly Knight" by A.S. Pushkin), Ananiy Yakovlev ("Bitter Fate" by Pisemsky), Ferdinand ("Cunning and Love" by Schiller ), Doctor Shtokman ("Doctor Shtokman" "Enemy of the People" by Ibsen), Satin ("At the Lower Depths" by M. Gorky; 1902), Astrov ("Uncle Vanya" by A.P. Chekhov), Vershinin ("Three Sisters" by A. P. Chekhov; 1901), Gaev ("The Cherry Orchard" by A.P. Chekhov; 1904), Famusov ("Woe from Wit" by Griboedov), Krutitsky ("Simplicity is enough for every wise man" by A.N. Ostrovsky), Argan ( "The Imaginary Invalid" by Moliere).
Where did the historical meeting of K.S. take place? Stanislavsky and V.I. Nemirovich-Danchenko, at which the concept of the future of the Moscow Art Theater was discussed.
What was the original name of the Moscow Art Theater? Decipher and explain the abbreviation.
Moscow Art Theatre, Moscow Art Theater of the USSR. Gorky
The Moscow Art Theater was founded in 1898 by K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko.
Initially it was called the Art and Public Theatre. Since 1901 - Moscow Art Theater (MAT),
How has the name of the Moscow Art Theater changed over time?
since 1919 - Moscow Artistic academic theater(Moscow Art Theater), since 1932 - Moscow Art Theater of the USSR. M. Gorky.
In 1987, it was divided into two theaters, which took their official names - the Moscow Art Academic Theater named after M. Gorky, (abbreviated as M. Gorky Moscow Art Theater) and the Moscow Art Academic Theater named after A. P. Chekhov (Moscow Art Theater named after A. P. Chekhov) .
In 2004, the Moscow Art Theater named after. A.P. Chekhov removed the word “academic” from the poster and since then the Moscow Art Theater has been called. A. P. Chekhov (Moscow Art Theater named after A. P. Chekhov).
What performance by K.S. Stanislavsky opened the Moscow Art Theater?
K.S. Stanislavsky in 1898, together with playwright V.I. Nemirovich-Danchenko, founded the Moscow Art Theater (MAT). The artists who became part of the theater belonged to the number of amateurs who had already worked under the direction of Stanislavsky, and to the number of students of Nemirovich-Danchenko. New theater opened with a play by A.K. Tolstoy "Tsar Fyodor Ioannovich".
Which founding actors of the Moscow Art Theater do you know?
The heads of the Art and Public Theater were: V. I. Nemirovich-Danchenko- Managing Director and K. S. Stanislavsky- director and main director. The core of the troupe was made up of students from the drama department of the Music and Drama School of the Moscow Philharmonic Society, where acting skills taught by V. I. Nemirovich-Danchenko (including I. M. Moskvin, O. L. Knipper, M. G. Savitskaya, V. E. Meyerhold), and participants in amateur performances staged by K. S. Stanislavsky in the “Society of Lovers of Art and Literature” (actresses M. F. Andreeva, M. P. Lilina, M. A. Samarova, actors V. V. Luzhsky, Artyom (A. R. Artemyev), G. S. Burdzhalov and others.)
Whose name does the Moscow Art Theater School-Studio bear?
V. I. Nemirovich-Danchenko
What is depicted on the Moscow Art Theater curtain and why?
Gull
The Moscow Art Theater was founded by Stanislavsky and Nemirovich-Danchenko, and was immediately conceived as completely innovative and unconventional. It opened in October 1898, and two months later it hosted the premiere Chekhov's play"Gull".
This play, written in 1896, was also very innovative for its time. It was a play of a new, non-existent psychological theater. Its first production was undertaken at the Imperial Alexandrinsky Theater, the performance failed miserably (the newspapers joked: this is not a seagull, but a real game), precisely because the theater at that time was not ready to stage Chekhov’s psychological plays.
Premiere in Art Theater passed with great triumph. The production created a sensation and changed ideas about the theater. She walked on the stage of the Artistic Theater for a long time with constant success.
In the first years, the theater did not have its own premises, but since 1902 it worked in a building on Kamergersky Lane, rebuilt with the money of Savva Morozov. The building reconstruction project was carried out free of charge by architect Shekhtel. He also made sketches of the theater's interior design and depicted a seagull on the curtain in memory of the legendary production of 1898.
Who has a monument erected in front of the Moscow Art Theater building?
Monument to A.P. Chekhov(sculptor M.K. Anikushin, architects M.M. Posokhin and M.L. Feldman).
Name the most famous students K.S. Stanislavsky.
Lilina, Moskvin, Kachalov, Leonidov, Knebel, Androvskaya, Kedrov, Meyerhold,
Knipper-Chekhova, V. Radomyslensky and others.
