PREFAZIONE

CONTEXT I

The Road to the Moscow Art Theatre 

Ensemble Theatre 

Utopian Communities 

Silver Age Metaphysics  

CONTEXT II

Stanislavsky and Politics 

Theatre in Revolution, and Meyerhold 

The Art Theatre in the Stalin Years,

ACTOR

 

The Life of the Human Spirit' and Russian Orthodoxy 

‘Ya yesm': ‘I Am' and the Subconscious 

Several Problems of Translation 

Yoga; the Superconscious; Inspiration and Orthodoxy 

The Theatre of Emotional Experiencing 

Ethics and Discipline  

STUDIO

 

A Chart of the Studios 

Sulerzhitsky and the First Studio 

The Second Studio 

The Third Studio 

 The Fourth Studio 

The Bolshoy Opera Studio 

The Opera-Dramatic Studio 

DIRECTOR

 

The Society of Art and Literature 

Two Directors 

Production Scores and Musicality: Chekhov and Gorky 

‘Reality' and The Lower Depths 

Rehearsal Notes: Cain and The Marriage of Figaro 

Director-Pedagogue: Othello, Romeo and Juliet, Hamlet 

What Is a Director? 

EPILOGUE: LEGACY 

 

Which Stanislavsky? 

Perspectives: France, Britain, Germany 

Now: The ‘Human Being' 

BIBLIOGRAFIA