By Andrei Malaev-Babel
Yevgeny Vakhtangov was once the writer of wonderful Realism, credited with reconciling Meyerhold’s daring experiments with Stanislavski’s naturalist approach. The Vakhtangov Sourcebook compiles new translations of his key writings at the artwork of theatre, making it the first resource of first hand fabric in this grasp of theatre within the English conversing international. Vakhtangov’s essays and articles are followed by means of: Diary and pc excerpts His lectures to the Vakhtangov Studio In-depth debts of Vakhtangov equipment in practice session construction images and sketches large bibliographies Director’s notes on key performances an in depth introductory evaluation from editor Andrei Malaev-Babel explains Vakhtangov‘s inventive existence, his groundbreaking theatrical innovations and influential directorial works.
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Extra resources for The Vakhtangov Sourcebook
Can you do the following: I see myself sitting in a chair. In a similar way, I can also feel myself as a cat. [Michael] Chekhov, while observing a cat, stopped perceiving who was the cat—him or the cat. Through some power of yours, you guess how the object of your concentration feels at this moment. I can sense your will with my entire being. For a second I somehow transport myself into you. There is a distinction between abnormality and delight here. The latter belongs to the realm of art. ” This is the principal thing for an actor.
Sulerzhitsky 1970: 319) 11 ���������������������������������������������������������������������������������� “The moment of the first acquaintance with the role is paramount. Virginal impressions … permeate the depth of the artistic soul, the subsoil of the creative nature; they often leave there lasting imprints that underlie the foundation of the role, become the future character’s embryo” (Stanislavsky 1991: 48). On Vakhtangov’s Work and Writings 13 Sulerzhitsky’s formula of the director’s task might strike the reader as being too ideal and, therefore, impossible.
99) Vakhtangov insisted that no matter what the actor experiences upon crossing the stage threshold it would apply to the imaginary reality of the stage. This axiom is based on the fact that, as the actor enters the stage, their creative nature is mobilized to fulfill the artistic task. Therefore, the creative nature offers the actor only those experiences helpful in fulfilling the creative task. Moreover, an actor’s creative nature is capable of incorporating any seemingly personal psychological experience into the overall equation of their stage task.
The Vakhtangov Sourcebook by Andrei Malaev-Babel