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Journal articles on the topic 'Chekhov, Michael'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Kirillov, Andrei. "Michael Chekhov and the Search for the ‘Ideal’ Theatre." New Theatre Quarterly 22, no. 3 (July 11, 2006): 227–34. http://dx.doi.org/10.1017/s0266464x06000431.

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In a keynote address delivered at the Michael Chekhov symposium ‘Theatre of the Future?’, held at Dartington Hall in November 2005, Andrei Kirillov argued that Chekhov’s ideas have not yet been fully assimilated, pointing out that merely to follow his exercises without understanding their connection to the actor’s imagination and meditative as well as spiritual dimensions is to fail fully to understand him. Andrei Kirillov is a researcher and Assistant Chair at the Theatre Department of the Russian Institute of the History of the Arts. His numerous publications on the history and theory of Russian theatre include Michael Chekhov: the Path of the Actor, co-edited with Bella Merlin (2005), and Teatr Mikhaila Chekhova: Russkoye Akterskoye Iskusstvo XX veca (The Theatre of Michael Chekhov: the Art of Russian Acting in the Twentieth Century, 1993). Bella Merlin originally enhanced the English-language version of this lecture, and with the author’s approval it has been further edited by NTQ for publication.

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2

Gottlieb, Vera. "Why This Farce?" New Theatre Quarterly 7, no. 27 (August 1991): 217–28. http://dx.doi.org/10.1017/s0266464x00005728.

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In exploring the repertoire of farce from its nineteenth-century exponents in France and England through the ‘typically British’ pre- and post-war varieties at the Aldwych and the Whitehall, to the work of such contemporary exponents as Alan Ayckboum and Michael Frayn, Vera Gottlieb also analyzes the ways in which ‘mechanistic’ or ‘clockwork’ kinds of farce are philosophically akin to absurdist drama. She suggests that English approaches to Chekhov have overlaid his work with similar assumptions – as in the contention of Michael Frayn, himself both a Chekhov translator and a highly successful farceur, that Chekhov's characters are ‘reduced by their passions to the level of blind and inflexible machines’. In arguing that this is not the case, she elaborates a crucial distinction between farces which, in effect, assume the impotence of human aspirations, and those in which behaviour derives from character rather than from imposed situations, thus offering at least the potential for change. Vera Gottlieb is Professor of Drama at Goldsmiths’ College, University of London, and the author of Chekhov and the Vaudeville (Cambridge, 1982) and Chekhov in Performance in Russia and Soviet Russia (Chadwyck-Healey, 1984). She was also translator and director of A Chekhov Quartet, first seen at the New End Theatre, London, in 1990, and subsequently at the Chekhov Festival in Yalta and the GITIS Theatre in Moscow.

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3

Byckling, Liisa, and Лийса Бюклинг. "Stanislavsky and Michael Chekhov." Stanislavski Studies 1, no. 2 (May 2013): 48–115. http://dx.doi.org/10.1080/20567790.2013.11428587.

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4

Daboo, Jerri. "Konstantin Stanislavsky Michael Chekhov Vsevolod Meyerhold Jacques Lecoq." Theatre Survey 47, no. 1 (April 13, 2006): 146–50. http://dx.doi.org/10.1017/s004055740638009x.

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The Routledge Performance Practitioners series, edited by Franc Chamberlain, is a new set of introductory guides to a range of key figures in the development of twentieth-century performance practice. Each book focuses on a single practitioner, examining his or her life, historical context, key writings, and productions, and a selection of practical exercises. These concise volumes are intended to offer students an initial introduction to the practitioner and to “provide an inspiring spring-board for future study, unpacking and explaining what can initially seem daunting” (Merlin, ii). The list of practitioners in the complete series include Stanislavsky, Brecht, Boal, Lecoq, Grotowski, Anna Halprin, and Ariane Mnouchkine, thus examining a range of performance styles and practices, creating a valuable overview of the development of performer training through the twentieth and into the twenty-first centuries. Such interest in the history of specific approaches to training performers has been addressed in other volumes, such as Twentieth-Century Actor Training, edited by Alison Hodge (New York: Routledge, 2000), and Acting (Re)considered: A Theoretical and Practical Guide, edited by Phillip Zarrilli (London: Routledge 2002). Both those collections contain in-depth chapters focusing on aspects of the selected practitioners' theoretical and practical approaches to the principles and concerns in their work. Where the books in the Routledge Performance Practitioners series differ is that they offer a more general overview of the practitioner in one volume, and in addition to the historical context, they provide a set of practical exercises that can be carried out by the student or teacher, as well as by the actor or director. The books are well presented, divided into clear sections, with relevant photographs and diagrams. There are also sidebars providing definitions and further information on key figures and terms mentioned in the main text. This review covers the first four books in the series, examining the work of Konstantin Stanislavsky, Michael Chekhov, Vsevolod Meyerhold, and Jacques Lecoq.

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5

Cerpa, Maritza Farías. "Sentido de composição na atuação em Michael Chekhov." Revista aSPAs 2, no. 1 (October 7, 2012): 112. http://dx.doi.org/10.11606/issn.2238-3999.v2i1p112-120.

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6

Marsden, Robert. "Directing with the Michael Chekhov Technique by Mark Monday." Stanislavski Studies 7, no. 1 (January 2, 2019): 136–38. http://dx.doi.org/10.1080/20567790.2019.1575392.

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7

Fei, Faye Chunfang. "Huang Zuolin: Michael Chekhov’s Link to China’s Modern Theatre." New Theatre Quarterly 22, no. 3 (July 11, 2006): 235–48. http://dx.doi.org/10.1017/s0266464x06000443.

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The folllowing article is a revised and edited version of a keynote address given by Faye Chunfang Fei at the Michael Chekhov Symposium, ‘Theatre of the Future?’, in November 2005 – held at Dartington Hall, where the actor and director Huang Zuolin worked under Chekhov’s guidance in 1936, an experience which helped to shape his lifelong work in uniting the best in western theatrical traditions with those of his native China. Faye Chunfang Fei traces this formative influence, along with those of Stanislavsky, of Brechtian Epic Theatre, and of traditional and modern Chinese forms, in shaping some of the major productions of probably the most influential figure in the Chinese theatre of the later twentieth century. Faye Chunfang Fei received her doctorate in Theatre Studies from the Graduate Center of City University of New York in 1991, and taught theatre in the United States for nine years before taking her present position of Professor of English and Drama at East China Normal University, Shanghai. Her publications include Chinese Theories of Theatre and Performance from Confucius to the Present (University of Michigan Press, 1999), and she is also an internationally produced playwright.

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8

Marc E. Shaw. "Master Classes in the Michael Chekhov Technique (review)." Theatre Topics 19, no. 1 (2009): 113–14. http://dx.doi.org/10.1353/tt.0.0062.

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9

Daboo, Jerri. "Michael Chekhov and the embodied imagination: Higher self and non-self." Studies in Theatre and Performance 27, no. 3 (September 27, 2007): 261–73. http://dx.doi.org/10.1386/stap.27.3.261_1.

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10

Bennett, Leslie. "Inspired states: adapting the Michael Chekhov Technique for the singing actor." Theatre, Dance and Performance Training 4, no. 2 (July 2013): 146–61. http://dx.doi.org/10.1080/19443927.2013.794157.

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11

Bennett, Suzanne M. "The dancer of the future: Michael Chekhov in cross-training practice." Theatre, Dance and Performance Training 4, no. 2 (July 2013): 162–75. http://dx.doi.org/10.1080/19443927.2013.794159.

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12

Salim, SEVER. "The use of acting methodology in singing education: Michael Chekhov system." Ankara Universitesi Egitim Bilimleri Fakultesi Dergisi 47, no. 2 (2014): 245–66. http://dx.doi.org/10.1501/egifak_0000001346.

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13

Christensen, Josephine. "Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training." Theatre, Dance and Performance Training 12, no. 1 (January 2, 2021): 127–29. http://dx.doi.org/10.1080/19443927.2021.1866886.

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14

Spachil, Olga V. "Anton Chekhov’s Sakhalin Island: An Ongoing Commentary." RUDN Journal of Studies in Literature and Journalism 26, no. 2 (December 15, 2021): 169–76. http://dx.doi.org/10.22363/2312-9220-2021-26-2-169-176.

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A study of the currently existing translations of Anton Chekhovs Sakhalin Island (From Travel Notes) (Luba and Michael Terpak - 1967, Brian Reeve - 1993) shows that the reason for some errors in translated texts is not always due to the negligence of translators, which is so clearly noticeable in the first translation, but rather in the incomprehensibi- lity for foreigners of some realia in the original text. Reference to two available Сommentaries on Sakhalin Island, by M.L. Semanova (1985) and M.S. Vysokov (2010), as well as to the works of other Chekhov scholars, did not give the sought-after explanations of certain vague excerpts from the book. Those obscure excerpts are also poorly understood by the Russian readership. In particular, we are talking about Chekhovs mention of the use of a naval rope in the surgical department (Chapter VII) and the perception of the status of a class feldscher/paramedic (Chapter XII). The author of the article offers her own commentary on difficult-to-understand passages and thus fills the gap that has arisen. Conclusions are drawn about the need to continue to provide Chekhovs Sakhalin Island with commentaries and notes. Such commentary should serve two purposes. Its linguistic and cultural character should help to clarify the realias not only for representatives of a foreign linguistic culture - in order to prevent gross errors in translations, but also for the present-day Russian reader, separated from the time when A.P. Chekhovs book was written by almost one hundred and thirty years.

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15

Do, Jung-Nim, and YI-Seul Park. "A Study on the Theory of Action by Vakhangov and Michael Chekhov." Journal of the Korea Entertainment Industry Association 14, no. 4 (June 30, 2020): 133–44. http://dx.doi.org/10.21184/jkeia.2020.6.14.4.133.

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16

Pitches, Jonathan. "Towards a Platonic paradigm of performer training: Michael Chekhov and Anatoly Vasiliev." Contemporary Theatre Review 17, no. 1 (February 2007): 28–40. http://dx.doi.org/10.1080/10486800601096006.

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17

Zinder, David. "‘The actor imagines with his body’ – Michael Chekhov: An examination of the phenomenon." Contemporary Theatre Review 17, no. 1 (February 2007): 7–14. http://dx.doi.org/10.1080/10486800601095966.

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18

Posner, Dassia N. "Marie-Christine Autant-Mathieu and Yana Meerzon, eds. The Routledge Companion to Michael Chekhov." Theatre Research in Canada 39, no. 1 (January 2018): 119–21. http://dx.doi.org/10.3138/tric.39.1.119.

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19

Barone, Luciana Paula Castilho. "O SELF E A ATUAÇÃO: FERRAMENTAS PARA CONSCIÊNCIA E CRIAÇÃO NO TRABALHO DE ATOR." Revista Contrapontos 20, no. 2 (March 7, 2021): 451–65. http://dx.doi.org/10.14210/contrapontos.v20n2.p451-465.

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Este artigo aborda ferramentas para o trabalho criativo de ator a partir do aprofundamento do conhecimento de si. O texto apresenta o relato da experiência pedagógica da autora em um curso de extensão (2018), que propôs como etapa de projeto de pesquisa focar na relação entre a ampliação da consciência psicofísica do ator e a criação de um personagem. Foram investigadas práticas de meditação ativa, de máscara neutra, da Educação Somática (pelos sistemas corporais do Body-Mind Centering™) e de elementos da técnica de atuação de Michael Chekhov. A estreita relação entre imaginação e percepção foi enfocada tanto como base para a ampliação da consciência corporal e psíquica quanto como fonte de criação psicofísica.

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20

Senelick, Laurence. "‘A Woman's Kingdom’: Minister of Culture Furtseva and Censorship in the Post-Stalinist Russian Theatre." New Theatre Quarterly 26, no. 1 (February 2010): 16–24. http://dx.doi.org/10.1017/s0266464x10000023.

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The late 1960s and early 1970s are known as a period of rebellion and turbulence in the Soviet Russian theatre. Dynamic directors such as Georgy Tovstonogov, Anatoly Efros, Oleg Efremov, and Yury Lyubimov, with varying degrees of acceptance by the authorities, revolutionized the staging of classics and inspired a number of new works based on the realities of everyday life. Less well known is that this activity took place during the regime of Elena Furtseva (1910–74), first as a member of the Presidium, then as Minister of Culture. Furtseva is a paradoxical figure: the very model of a line-toeing Party member, she also used her femininity to advance her career. Uncultivated in the arts and ruled by her personal taste, she alternately bullied and coddled the artists she was supposed to control. Although Furtseva's influence was ever present from the Khrushchev era to the early Brezhnev years, she is rarely mentioned in Western accounts of Soviet theatre, and this sketch of her career is the first in English. The author, Laurence Senelick, is Fletcher Professor of Drama and Oratory at Tufts University. His books include The Chekhov Theatre: a Century of Plays in Performance (1997) and A Historical Dictionary of Russian Theatre (2007). Several of his articles have appeared in Theatre Quarterly and New Theatre Quarterly, the most recent being an article on Michael Chekhov in NTQ 99.

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21

Whyman, Rose. "Michael Chekhov The Path of the Actor London: Routledge, 2005. 254 p. £39.99. ISBN: 0-415-34366-6." New Theatre Quarterly 23, no. 1 (January 16, 2007): 95–96. http://dx.doi.org/10.1017/s0266464x06280679.

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22

Lapushin, Radislav. "Michael C. Finke. Seeing Chekhov: Life and Art. Ithaca, NY: Cornell University Press, 2005. xi, 237 pp. $29.95." Canadian-American Slavic Studies 41, no. 4 (2007): 476–77. http://dx.doi.org/10.1163/221023907x00716.

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23

Pitches, Jonathan, and Anthony Shrubsall. "Atmosphere, Space, Stasis: Staging Pinter's Mountain Language and A Kind of Alaska using the techniques of Michael Chekhov." Studies in Theatre Production 19, no. 1 (January 1999): 36–66. http://dx.doi.org/10.1080/13575341.1999.10807010.

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24

Chamberlain, Franc. "Lenard Petit The Michael Chekhov Handbook: for the ActorLondon; New York: Routledge, 2010. 182 p. £16.99. ISBN: 978-0415496728." New Theatre Quarterly 27, no. 4 (November 2011): 399–400. http://dx.doi.org/10.1017/s0266464x11000789.

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25

Mitchell, Roanna. "Something in the atmosphere? Michael Chekhov, Deirdre Hurst Du Prey, and a web of practices between acting and dance." Theatre, Dance and Performance Training 11, no. 3 (July 2, 2020): 255–73. http://dx.doi.org/10.1080/19443927.2020.1789724.

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26

Whyman, Rose. "Serafima Birman: the Path of the Actress from the Moscow Art Theatre to People's Artist of the USSR." New Theatre Quarterly 34, no. 4 (October 8, 2018): 339–56. http://dx.doi.org/10.1017/s0266464x18000416.

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Serafima Birman was an actress of the Moscow Art Theatre who worked in the First Studio and Second Moscow Art Theatre throughout the revolutionary and civil war period (1910s–1920s) and went on to have a distinguished career as a performer, teacher, and director in Stalinist and post-Stalinist USSR (1920s–1970s). In this article Rose Whyman investigates her artistic and cultural contribution in the development of the Stanislavsky System and of her approach to acting, working alongside Vakhtangov, Michael Chekhov, and influenced by Meyerhold and other artists of the avant-garde. She was the first female director at the theatre, continued to act and direct in Soviet theatres, and worked in film, notably with Eisenstein on Ivan the Terrible. The development of her career required great determination and necessitated making theatrical and political choices in order to survive and maintain the artistic principles on which her work was based. Rose Whyman is a Senior Lecturer in the Department of Drama and Theatre Arts at the University of Birmingham and is the author of The Stanislavsky System of Acting (Cambridge, 2008) and Stanislavsky: the Basics (Routledge, 2013).

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27

Pitches, Jonathan. "‘Is It All Going Soft?’ The Turning Point in Russian Actor Training." New Theatre Quarterly 21, no. 2 (April 21, 2005): 108–17. http://dx.doi.org/10.1017/s0266464x05000023.

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Whilst Stanislavsky spent much of his energy trying to simplify the processes of acting and avoiding a (pseudo-) scientific terminology for his acting system, he was nevertheless caught up in Stalin's appropriation of hard science after the Russian Revolution, to be paired with other ‘founding fathers’ of Soviet materialism, including Ivan Pavlov, in the creation of a powerful political orthodoxy. Here, Jonathan Pitches focuses on two of Stanislavsky's key contemporaries, Meyerhold and Michael Chekhov, both of whom had worked with the founder of the System at different periods in their career, to pinpoint a significant shift, or turning point, in the development of twentieth-century Russian actor training. Drawing on Fritjof Capra's history of systemic thinking, the article argues that a radical shift of thinking took place in actor training in the 1920s and 1930s, which prefigures the global paradigm crisis Capra has identified at the turn of the last century. Jonathan Pitches is a Principal Lecturer in the Department of Contemporary Arts at Manchester Metropolitan University and author of Vsevolod Meyerhold (Routledge, 2003). This article is a revised version of a paper delivered at the IFTR 2004 Conference in St Petersburg. Its argument derives from his forthcoming book Science and the Stanislavsky Tradition (Routledge, 2005).

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28

Peace, Richard. "Seeing Chekhov: Life and Art. By Michael C. Finke. Ithaca: Cornell University Press, 2005. xii, 237 pp. Notes. Index. Photographs. $29.95, hard bound." Slavic Review 65, no. 4 (2006): 854–55. http://dx.doi.org/10.2307/4148507.

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29

Condron, Aiden. "Michael Chekhov Advanced Masterclass at Rose Bruford College of Theatre and Performance July 15th–19th 2019, led by Lisa Dalton and Janice Orlandi." Theatre, Dance and Performance Training 11, no. 1 (January 2, 2020): 108–10. http://dx.doi.org/10.1080/19443927.2020.1715629.

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30

Lucanu, Tudor. "One Conscience or More: Is the Actor more than one at a Time?" Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 243–60. http://dx.doi.org/10.24193/subbdrama.2020.2.12.

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"This paper approaches an important theme in the study of actors work: the multiplication of the consciousness, from the perspective of the actor’s training correlated to psychology and neuroscience. We will refer to some of the best known works used in the training of the actor or which have as object of study the art of the actor, namely K. Stanislavsky - An Actor Prepares; Michael Chekhov - To the Actor: On the technique of acting, Lee Strasberg - Strasberg at the Actors Studio, Jerzy Grotowski - Towards a Poor Theatre, Bertolt Brecht - Brecht on Theatre, Denis Diderot - Paradox of the Actor. Conversations on The Natural Son on one hand, and Antonio Damasio’s studies on the self, on the other hand, noting that theories about the cognitive functions of the human brain provide a valuable perspective on the art of the actor, especially by how it applies to the conscious and subconscious of the actor on stage. What happens to the actor while performing? How does the actor process different stimuli to build a character, and then an entire artistic act? What are the roles of the mind and body in the creative process? These are just a few questions that I will try to find answers to, while examining the actor’s multiplication of consciousness. Keywords: consciousness, actor, character, emotions, images, brain."

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31

Rayfield, Donald. "Approaches to Teaching the Works of Anton Chekhov. Ed. Michael C. Finke and Michael Holquist. New York: The Modern Language Association of America, 2016. viii, 233 pp. Appendixes. Notes. Bibliography. Index. $24.00, paper." Slavic Review 77, no. 2 (2018): 545–46. http://dx.doi.org/10.1017/slr.2018.180.

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32

Any, Carol. "Metapoesis: The Russian Tradition from Pushkin to Chekhov. By Michael C. Finke. Durham: Duke University Press, 1995. xv, 221 pp. Bibliography. Index. Figure. Paper." Slavic Review 55, no. 3 (1996): 702–3. http://dx.doi.org/10.2307/2502037.

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33

Large, Gerald. "Theatrical Physicality, the Gross-out Zombie, and Michael Chekhov Technique: Creating a Bridge from the Actor’s Body to the Character’s Body via the Zombie-Body." Theatre Topics 25, no. 3 (2015): 295–303. http://dx.doi.org/10.1353/tt.2015.0043.

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34

Worrall, Nick. "AUTANT-MATHIEU, Marie-Christine, and MEERZON, Yana. eds. (2017). The Routledge Companion to Michael Chekhov. Abingdon & New York : Routledge. Illustrations. Tables. Chronology. Index. v-xxi, 431 pp." Recherches sémiotiques 36, no. 1-2 (2016): 383. http://dx.doi.org/10.7202/1051194ar.

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35

Aftanasiu, Doru. "The Dilemma of the Composition Role." Theatrical Colloquia 9, no. 2 (December 1, 2019): 167–74. http://dx.doi.org/10.2478/tco-2019-0023.

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Abstract What could we possibly mean by the expression “composition role”? To this question we will try to find an answer as comprehensive as possible. Are we talking only about those “character roles” mentioned by Stanislavsky? This reference can be considered, since all those character roles require stage composition, the way Stanislavsky described his own acting experiences. But is this the only landmark? Should we label as composition roles only the characters that demand text-triggered stage composition? Indeed, there are characters that assume, within their construction, elements that do not belong to the actor as an individual. But are these the only cases when the term applies? The composition role is therefore not limited to only a few obvious milestones identified in the text. On a closer look, some characters may require a stage composition based on external elements, even if this problem is not apparent. Yet we must not misunderstand things and come to the conclusion that all roles, following a deep psychological analysis, become composition roles. If we agree that the construction of a character involves many elements pertaining to externalization, we must consider the cases where such suggestions originate from the director. Some directors claim scenic effects from the actors, sometimes contradicting the natural line of the character created by the author, maybe even completely modifying its construction. How reprehensible, however, is the acting effect? Has it only arisen from a desire to simulate virtuosity? The term “effect” in composition can be accepted in the sense of the element helping to achieve the contrasts indispensable to the stage creation, about which Michael Chekhov speaks in To the Actor. He confers to it a broader acceptance. Solutions not related to elementary normality can give the actor an unbearable sense of awkwardness, inevitably leading to effort. This effort will not go unnoticed by the spectator. And the spectator, almost always without hesitation, gives a negative verdict to such a performance. And yet, visible manifestations that seem to be chaotic can be lived from the inside, which averts effort in interpretation and artificiality. The actor can avoid some clumsiness in emotions, clumsiness that is spoken about by Dario Fo, among others.

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36

Meerzon, Yana. "Michael Chekhov's Theater of the Future." Stanislavski Studies 3, no. 1 (January 2015): 35–52. http://dx.doi.org/10.1080/20567790.2015.11428610.

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37

Chambers, David, and Anna Shulgat. "Michael Chekhov’s Treplev: an unplayed role." Stanislavski Studies 5, no. 2 (July 3, 2017): 197–215. http://dx.doi.org/10.1080/20567790.2017.1377429.

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38

Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (November 12, 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.

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39

Pitches, Jonathan. "The Technique in microcosm: Michael Chekhov's work on theFishers'scene." Theatre, Dance and Performance Training 4, no. 2 (July 2013): 219–36. http://dx.doi.org/10.1080/19443927.2013.797486.

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KIM, YOUNG LAE. "The Rediscovery of Michael Chekhov's Psychological Gesture through Language Eurythmy." Journal of Korean Theatre Education 30 (June 30, 2017): 35–63. http://dx.doi.org/10.46262/kte.30.1.2.

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Cornford, Tom. "The Importance of How: Directing Shakespeare with Michael Chekhov’s Technique." Shakespeare Bulletin 30, no. 4 (2012): 485–504. http://dx.doi.org/10.1353/shb.2012.0065.

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Cornford, Tom. "‘A new kind of conversation’: Michael Chekhov's ‘turn to the crafts’." Theatre, Dance and Performance Training 4, no. 2 (July 2013): 189–203. http://dx.doi.org/10.1080/19443927.2013.794158.

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Wolfson, Boris, and Yana Meerzon. "The Path of a Character: Michael Chekhov's Inspired Acting and Theatre Semiotics." Slavic and East European Journal 50, no. 3 (October 1, 2006): 548. http://dx.doi.org/10.2307/20459345.

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Meerzon, Yana. "On expressionistic mysterium: Michael Chekhov’s tragic character on page and on stage." Stanislavski Studies 4, no. 2 (July 2, 2016): 137–55. http://dx.doi.org/10.1080/20567790.2016.1234022.

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Deeney, John F. "Michael Chekhov. By Franc Chamberlain. London: Routledge, 2004. Pp xii + 152 + illus. £9.99 Pb. Konstantin Stanislavsky. By Bella Merlin. London: Routledge, 2003. Pp xii + 171 + illus. £9.99 Pb. Jacques Lecoq. By Simon Murray. London: Routledge, 2003. Pp xiv + 180 + illus. £9.99 Pb. Vsevolod Meyerhold. By Jonathan Pitches. London: Routledge, 2003. Pp xi + 162 + illus. £9.99 Pb." Theatre Research International 29, no. 2 (July 2004): 187–89. http://dx.doi.org/10.1017/s0307883304230607.

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Cornford, Tom. "The Routledge Companion to Michael Chekhov. Edited by Marie-Christine Autant-Mathieu and Yana Meerzon. Abingdon and New York: Routledge, 2015. Pp. xxi + 433 + 25 illus. £148/$204 Hb. - Stanislavsky in the World: The System and Its Transformations across Continents. Edited by Jonathan Pitches and Stefan Aquilina. London and New York: Bloomsbury Methuen Drama, 2017. Pp. xiii + 461 + 40 illus. £22.49/$30.56 Pb." Theatre Research International 43, no. 3 (October 2018): 339–41. http://dx.doi.org/10.1017/s0307883318000597.

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Kim, Young-Lae. "A Study on Michael Chekhov’s ‘Inspired Acting’ - Focusing on The Essence of Human in Anthroposophy." Journal of the Korea Entertainment Industry Association 12, no. 7 (October 31, 2018): 259–69. http://dx.doi.org/10.21184/jkeia.2018.10.12.7.259.

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Cho, Cho Hanjun. "A Study on Modeling Teaching Methods of Acting - focused on Michael Chekhov’s Principle of ‘Atmosphere’ Ⅱ." Journal of Korean Theatre Education 36 (June 30, 2020): 291–323. http://dx.doi.org/10.46262/kte.36.1.8.

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Cho, Han-Jun. "A Study on Modeling Teaching Methods of Acting - Focused on Michael Chekhov’s Principle of Atmosphere Ⅰ-." Journal of the Korea Entertainment Industry Association 11, no. 3 (April 30, 2017): 201. http://dx.doi.org/10.21184/jkeia.2017.04.11.3.201.

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Meerzon, Yana. "Body and space: Michael Chekhov’s notion of atmosphere as the means of creating space in theatre." Semiotica 2005, no. 155.1part4 (June 2005): 259–79. http://dx.doi.org/10.1515/semi.2005.2005.155.1part4.259.

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