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Anatoly Smeliansky. The Russian Theatre after Stalin. Translated by Patrick Miles. New York and Cambridge: Cambridge University Press, 1999. xxxviii, 232 pp. $59.95.

Anatoly Smeliansky. The Russian Theatre after Stalin. Translated by Patrick Miles. New York and... as it evolved. Other studios, such as the Opera Studio and the Fourth Studio, are omit- ted because their goals differed from her focus. The work's second theme emerges from the details about the rehearsals. More interesting than Stanislavsky's participation in the studios is his relative absence. Gauss correctly points out how much the development of his "system" owed to other individuals. Proteges, including Leopold Sulerzhitskii, Mikhail Chekhov, and Evgenii Vakhtangov, who were extraordinary talents in their own right, conducted the bulk of the exercises. They and other directors mounted the productions. Although Stanislav- sky inspired them and his students truly adored him, he often tinkered with produc- t i o n s only late in the process or criticized them after the openings. The book's title, Stanislavsky's own reference to the studios as "faithless daughters," reveals his am- bivalence toward their output even as he relied on them for ideas. (p. 74) To reach these conclusions, Gauss primarily uses familiar, published sources: memoirs of participants, .collected letters, and secondary works. She does not seem to be especially critical of them. Although she refers to contemporary press accounts in the bibliography, they receive little attention in her study http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Canadian-American Slavic Studies Brill

Anatoly Smeliansky. The Russian Theatre after Stalin. Translated by Patrick Miles. New York and Cambridge: Cambridge University Press, 1999. xxxviii, 232 pp. $59.95.

Canadian-American Slavic Studies , Volume 36 (1-2): 198 – Jan 1, 2002

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Publisher
Brill
Copyright
© 2002 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0090-8290
eISSN
2210-2396
DOI
10.1163/221023902X00568
Publisher site
See Article on Publisher Site

Abstract

as it evolved. Other studios, such as the Opera Studio and the Fourth Studio, are omit- ted because their goals differed from her focus. The work's second theme emerges from the details about the rehearsals. More interesting than Stanislavsky's participation in the studios is his relative absence. Gauss correctly points out how much the development of his "system" owed to other individuals. Proteges, including Leopold Sulerzhitskii, Mikhail Chekhov, and Evgenii Vakhtangov, who were extraordinary talents in their own right, conducted the bulk of the exercises. They and other directors mounted the productions. Although Stanislav- sky inspired them and his students truly adored him, he often tinkered with produc- t i o n s only late in the process or criticized them after the openings. The book's title, Stanislavsky's own reference to the studios as "faithless daughters," reveals his am- bivalence toward their output even as he relied on them for ideas. (p. 74) To reach these conclusions, Gauss primarily uses familiar, published sources: memoirs of participants, .collected letters, and secondary works. She does not seem to be especially critical of them. Although she refers to contemporary press accounts in the bibliography, they receive little attention in her study

Journal

Canadian-American Slavic StudiesBrill

Published: Jan 1, 2002

There are no references for this article.