A latecomer continually hampered by government control and interference, the Russian theatre seems an unlikely source of innovation and creativity. Yet, by the middle of the nineteenth century, it had given rise to a number of outstanding playwrights and actors, and by the start of the twentieth century, it was in the vanguard of progressive thinking in the realms of directing and design. Its influence throughout the world was pervasive: Nikolai Gogol', Anton Chekhov and Maksim Gor'kii remain staples of repertories in every language, the ideas of Konstantin Stanislavskii, Vsevolod Meierkhol'd and Mikhail Chekhov continue to inspire actors and directors, while designers still draw on the graphics of the World of Art group and the Constructivists. What distinguishes Russian theater from almost any other is the way in which these achievements evolved and survived in ongoing conflict or cooperation with the State. This second edition of Historical Dictionary of Russian Theatre covers the history through a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 1000 cross-referenced entries on individual actors, directors, designers, entrepreneurs, plays, playhouses and institutions, Censorship, Children's Theater, Emigre Theater, and Shakespeare in Russia. This book is an excellent access point for students, researchers, and anyone wanting to know more about Russian Theatre.

Konstantin Stanislavsky transformed theatre in the West and was indisputably one of the twentieth century's greatest innovators. His life and work mark some of the most significant artistic and political milestones of that tumultuous century, from the emancipation of the serfs to the Russian Revolution. Little wonder, then, that his correspondence contains gripping exchanges with the famous and infamous of his day: men such as Tolstoy, Chekhov, Trotsky and Stalin, among others. Laurence Senelick, one of the world's foremost scholars of Russian literature, mines the Moscow archives and the definitive Russian edition of Stanislavsky's letters, to produce the fullest collection of the letters in any language other than Russian. He sheds new light on this fascinating field. Senelick takes us from the earliest extant letter of an eleven-year-old Konstantin in 1874, through his work as actor, director and actor trainer with the Moscow Art Theatre, to messages written just before his death in 1938 at the age of seventy-five. We discover Stanislavsky as son, brother and father, as lover and husband, as businessman and "internal emigre." He is seen as a wealthy tourist and an impoverished touring actor, a privileged subject of the Tsar and a harried victim of the Bolsheviks. Senelick shares key insights into Stanislavsky's work on such important productions as The Seagull, The Cherry Orchard, Hamlet, Othello, and The Marriage of Figaro. The letters also reveal the steps that led up to the publication of his writings My Life in Art and An Actor's Work on Himself. This handsome edition is also comprehensively annotated and fully illustrated.

Despite constant hindrance from government interference and control, the Russian theater has produced many memorable playwrights, schools of thought, and plays, whose influence can be seen throughout the world. Nikolai Gogol's The Inspector, Maksim Gor'kii's The Lower Depths, and Anton Chekhov's The Cherry Orchard remain staples of repertories in every language. The ideas of Konstantin Stanislavskii, Vsevolod Meierkhol'd, and Mikhail Chekhov continue to inspire actors and directors, and designers still draw on the graphics of the World of Art group and the Constructivists. The A to Z of Russian Theater is the only reference work in English devoted exclusively to Russian theater and drama. It provides information on the popular plays and playwrights while also offering information on many persons, works, and phenomena omitted from standard encyclopedias. Through the use of a chronology, an introductory essay, a bibliography, an appendix, and hundreds of cross-referenced dictionary entries on directors, stage designers, actors, plays, playwrights, concepts, theater buildings, and troupes, this reference provides an unrivaled account of Russian theater.

During its fifty year run, Theatre Arts Magazine was a bustling forum for the foremost names in the performing arts, including Stanislavski, Laurence Olivier, Lee Strasberg, John Gielgud and Shelley Winters. Renowned theatre historian Laurence Senelick has plundered its stunning archives to assemble a stellar collection of articles on every aspect of acting and theatrical life.

During its fifty year run, Theatre Arts Magazine was a bustling forum for the foremost names in the performing arts, including Stanislavski, Laurence Olivier, Lee Strasberg, John Gielgud and Shelley Winters. Renowned theatre historian Laurence Senelick has plundered its stunning archives to assemble a stellar collection of articles on every aspect of acting and theatrical life.

The answers to these questions - and much, much more - are to be found in The Changing Room , which traces the origins and variations of theatrical cross-dressing through the ages and across cultures. It examines:
* tribal rituals and shamanic practices in the Balkans and Chinese-Tibet
* the gender-bending elements of Greek and early Christian religion
* the homosexual appeal of the boy actor on the traditional stage of China, Japan and England
* the origins of the dame comedian, the principal boy, the glamour drag artiste and the male impersonator
* artists such as David Bowie, Boy George, Charles Ludlam, Dame Edna Everage, Lily Savage, Candy Darling, Julian Clary and the New York Dolls.
Lavishly illustrated with unusual and rare pictures, this is the first ever cross-cultural study of theatrical transvestism. It is a must for anyone interested in cross-dressing, theatre, and gender.

The Changing Room traces the origins and variations of theatrical cross-dressing through the ages and across cultures. It examines:
* tribal rituals and shamanic practices in the Balkans and Chinese-Tibet
* the gender-bending elements of Greek and early Christian religion
* the homosexual appeal of the boy actor on the traditional stage of China, Japan and England
* the origins of the dame comedian, the principal boy, the glamour drag artiste and the male impersonator
* artists such as David Bowie, Boy George, Charles Ludlam, Dame Edna Everage, Lily Savage, Candy Darling, Julian Clary and the New York Dolls.
Lavishly illustrated with unusual and rare pictures, this is the first ever cross-cultural study of theatrical transvestism. Written with elegance, authority and wit by one of the world's leading theatre historians, it is a must for anyone interested in questions of cross-dressing, theatre, and gender.

eBook available with sample pages: 0203411072

This volume makes available an international collection of plays, from Britain, the US, Germany, France and Russia, providing an essential and fascinating resource for anyone interested in the theatre culture of this period.
Lovesick brings together six plays, each with individual introductions, including an author biography and a production history. The editor provides a contextual introduction to the volume offering valuable information about the ancestry of gay theatre and queer performance.
The anthology reveals how 'sexual deviance' made its way into the drama of this time, and also how homosexual playwrights used comic or lyrical devices in order to celebrate a 'superior sensibility'.

eBook available with sample pages: HB:0415185564

This volume makes available an international collection of plays, from Britain, the US, Germany, France and Russia, providing a resource for anyone interested in the theatre culture of this period. The anthology reveals how sexual deviance made its way into the drama of the late-19th and early-20th centuries, through the creation of certain types, such as the sexual predator, the helpless victim of nature, and the decadent aesthete. At the same time, homosexual playwrights used comic or lyrical devices to celebrate their special qualities and to suggest that deviance was not pathetic or dangerous, but rather a superior sensibility, opening doors to a new and better way of life. This anthology brings together six plays from the period and individual introductions to each play, including an author biography and production history and a contextual introduction by the editor, providing valuable information about the ancestry of gay theatre and queer performance. This collection enlarges the repertory and makes available a legacy of homosexual dramas of the past.

These four Russian comedies were written during the reign of Nicholas I, a period of considerable repression and censorship. They represent the most popular genres of the period.
Lensky's Her First Night was an immensely popular vaudeville which held the stage for years; Kozma Prutkov's Fantasy is a parody of vaudeville which was banned after one night. Turgenev's Luncheon with the Marshal is a comedy of manners about provincial life, and Saltykov-Schedrin's Pazukhin's Death is a satire of greed and corruption so savage that it was forbidden during the author's lifetime.
This collection constitutes a remarkable comic spectrum which will assist in enlarging the English language repertoire with a set of newly available and hightly stageworthy scripts.

This is the first book to explore the world of the theatre in Russia after Stalin. Through his work at the Moscow Art Theatre, Anatoly Smeliansky is in a key position to analyse contemporary events on the Russian stage and he combines this first-hand knowledge with valuable archival material, some published here for the first time, to tell a fascinating and important story. Smeliansky chronicles developments from 1953 and the rise of a new Soviet theatre, and moves through the next four decades, highlighting the social and political events which shaped Russian drama and performance. The book also focuses on major directors and practitioners, including Yury Lyubimov, Oleg Yefremov, and Lev Dodin, among others, and contains a chronology, glossary of names, and informative illustrations.

Offenbach's operas were a significant force for cultural change, both in his own time and in the decades to follow. In this book, Laurence Senelick demonstrates the ways in which this musical phenomenon took hold globally, with Offenbach's work offering an alternative, irreverent, sexualized view of life which audiences found liberating, both personally and socially. In the theatre, the composer also inspired cutting-edge innovations in stagecraft and design, and in this book, he is recognized as a major cultural influence, with an extensive impact on the spheres of literature, art, film, and even politics. Senelick argues that Offenbach's importance spread far beyond France, and that his provocative and entertaining works, often seen as being more style than substance, influenced numerous key artists, writers, and thinkers, and made a major contribution to the development of modern society.

Offenbach's operas were a significant force for cultural change, both in his own time and in the decades to follow. In this book, Laurence Senelick demonstrates the ways in which this musical phenomenon took hold globally, with Offenbach's work offering an alternative, irreverent, sexualized view of life which audiences found liberating, both personally and socially. In the theatre, the composer also inspired cutting-edge innovations in stagecraft and design, and in this book, he is recognized as a major cultural influence, with an extensive impact on the spheres of literature, art, film, and even politics. Senelick argues that Offenbach's importance spread far beyond France, and that his provocative and entertaining works, often seen as being more style than substance, influenced numerous key artists, writers, and thinkers, and made a major contribution to the development of modern society.

Konstantin Stanislavsky transformed theatre in the West and was indisputably one of the twentieth century's greatest innovators. His life and work mark some of the most significant artistic and political milestones of that tumultuous century, from the emancipation of the serfs to the Russian Revolution. Little wonder, then, that his correspondence contains gripping exchanges with the famous and infamous of his day: men such as Tolstoy, Chekhov, Trotsky and Stalin, among others. Laurence Senelick, one of the world's foremost scholars of Russian literature, mines the Moscow archives and the definitive Russian edition of Stanislavsky's letters, to produce the fullest collection of the letters in any language other than Russian. He sheds new light on this fascinating field. Senelick takes us from the earliest extant letter of an eleven-year-old Konstantin in 1874, through his work as actor, director and actor trainer with the Moscow Art Theatre, to messages written just before his death in 1938 at the age of seventy-five. We discover Stanislavsky as son, brother and father, as lover and husband, as businessman and "internal emigre." He is seen as a wealthy tourist and an impoverished touring actor, a privileged subject of the Tsar and a harried victim of the Bolsheviks. Senelick shares key insights into Stanislavsky's work on such important productions as The Seagull, The Cherry Orchard, Hamlet, Othello, and The Marriage of Figaro. The letters also reveal the steps that led up to the publication of his writings My Life in Art and An Actor's Work on Himself. This handsome edition is also comprehensively annotated and fully illustrated.

This book chronicles the emergence of a national feeling in the theatres of Northern and Eastern Europe from the mid-eighteenth to the late nineteenth centuries. Using original documents and sources, including architects' plans, royal edicts, censors' reports, contemporary journalism, directors' blocking notes, memoirs and letters, this volume provides a chronological exploration of theatrical trends in eight countries. The documents reveal that in Denmark, Sweden and Norway the gradual development from royal patent houses and municipal theatres led to a genuinely public and Scandinavian institution. In Poland, Hungary, Bohemia and Romania, theatrical records reveal the evolution of distinctly national repertoires and organizations removed from foreign influences. Similar sources demonstrate that Russia pursued native concepts of acting and playwriting after the retreat of Napoleon that culminated in the foundation of the Moscow Art Theatre. The volume contains numerous illustrations, the source location for each document, and a substantial bibliography.

This is the first cross-cultural study of Chekhov's plays in production. Many now consider Chekhov a playwright equal to Shakespeare, and this book studies how the reputation evolved, and how the presentation of his plays varied and altered from their initial productions in Russia to the most recent postmodern deconstructions of them. Particular attention is given to the staging of Chekhov in Russia before and after the Revolution, and under different regimes; in the English-speaking world, in Western and Eastern Europe, as well as in Japan.

This is the first book to explore theater in Russia after Stalin. Through his work at the Moscow Art Theatre, Anatoly Smeliansky is in a key position to analyze contemporary events on the Russian stage and he combines this first-hand knowledge with valuable archival material. Smeliansky chronicles developments from 1953 and the rise of a new Soviet theater, highlighting the social and political events that shaped Russian drama and performance. The book also focuses on major directors and practitioners and contains a chronology, glossary of names, and informative illustrations.

This stunning new translation presents the only truly complete edition of the plays of one of the greatest dramatists in history. Anton Chekhov is a unique force in modern drama, his works interpreted and adapted internationally and beloved for their brilliant wit and understanding of the human condition.This volume contains work never previously translated, including the newly discovered farce The Power of Hypnotism, the first version of Ivanov, Chekhov's early humorous dialogues, and a description of lost plays and those Chekhov intended to write but never did.

This book chronicles the emergence of a national feeling in the theatres of Northern and Eastern Europe from the mid-eighteenth to the late nineteenth centuries. Using original documents and sources, including architects' plans, royal edicts, censors' reports, contemporary journalism, directors' blocking notes, memoirs and letters, this volume provides a chronological exploration of theatrical trends in eight countries. The documents reveal that in Denmark, Sweden and Norway the gradual development from royal patent houses and municipal theatres led to a genuinely public and Scandinavian institution. In Poland, Hungary, Bohemia and Romania, theatrical records reveal the evolution of distinctly national repertoires and organizations removed from foreign influences. Similar sources demonstrate that Russia pursued native concepts of acting and playwriting after the retreat of Napoleon that culminated in the foundation of the Moscow Art Theatre. The volume contains numerous illustrations, the source location for each document, and a substantial bibliography.

Anton Chekhov is a unique force in modern drama, his works cherished for their brilliant wit and insight into the human condition. In this stunning new translation of one of Chekhov s most popular and beloved plays, Laurence Senelick presents a fresh perspective on the master playwright and his groundbreaking dramas. He brings this timeless trial of art and love to life as memorable characters have clashing desires and lose balance in the shifting eruptions of society and a modernizing Russia. Supplementing the play is an account of Chekhov s life; a note on the translation; an introduction to the work; and variant lines, often removed due to government censorship, which illuminate the context in which they were written. This edition is the perfect guide to enriching our understanding of this great dramatist or to staging a production."