Vakhtangov Study Day at the Rose Bruford College

Vakhtangov Study Day at the  Rose Bruford College – Film. Hosted by The Stanislavski Centre.

Guest Speaker Andrei Maleav Babel with the participation of  Graham Dixon  The Vakhtangov Study day which took place in 2014 took place at the Rose Bruford College of Theatre and performance organised by The Stanislavski Centre with guest speaker Andrei Malaev-Babel, and Graham Dixon. The film Vakhtangov and the Russian Theatre was also premiered at the event.

  Books by Andrei Maleav-Babel about Vakhtangov:

  The Vahktangov Sourcebook is a rich and extensive source of information and analysis of the central principles of Vakhtangov’s  work and compiles new translations of his key writings on the art of theatre, making it the primary source of first hand material on this master of theatre in the English speaking world. For more information click on this link or click on the thumbnail.     Ranging from Moscow to Israel, from Fantastic Realism to Vakhtangov’s futuristic projection, the theatre of the ‘Eternal Mask’,


Yevgeny Vakhtangov: A Critical Portrait: For more information click on this link or click on the thumbnail.

  

• considers his input as one of the original teachers of Stanislavsky’s system, and the complex relationship shared by the two men;
• reflects on his directorship of the First Studio of the Moscow Art Theatre and the Habima (which was later to become Israel’s National Theatre) as well as the Vakhtangov Studio, the institution he established;
• examines in detail his three final directorial masterpieces, Erick XIV, The Dybbuk and Princess Turandot.

 Graham Dixon and the Michael Chekov Studio London: The Chekov Studio London. Graham Dixon  started the Michael Chekhov Studio in 2003 as a means to give actors and directors living in London an opportunity to access and explore Michael Chekhov’s unique approach to the art of acting. Click on the thumbnail or the link above for more information about his work.  







The Stanislavski Centre. The Stanislavski Centre . The Stanislavski Centre at Rose Bruford College of Theatre and Performance is a unique initiative within the UK to create a home for both academic research and practice/performance events based upon the work of Konstantin Stanislavski. The Centre, which is located within the college’s Learning Resources Centre, houses a core collection of books and other printed material (mostly in the Russian language), a photographic archive of more than 200 images and a small collection of material on video and DVD.






       Michael Craig,  Copernicus Films.Michael Craig and Copernicus Films completed a film about Vakhtangov “Vakhtangov and the Russian Theatre” which was also premiered at the Vakhtangov Study day. Vakhtangov eventually became one of the foremost directors of the Russian theatre in the early twentieth century until his early death in 1922 at the age of 39. Talented and enigmatic, his great achievement was the the synthesis of Stanislavsky’s theories of acting and realism and Meyerhold’s studied theatrically. This film by Michael Craig is the third in the series about Russian theatre in the early 20th century. Click here for more information about this film.

"Vakhtangov and the Russian Theatre" Post production diary update 6

"Vakhtangov and the Russian Theatre"   Post production diary update 6

Put together edit for Vakhtangov's production of Ibsen's Rosmersholm for the film Vakhtangov & the Russian Theatre.http://www.vakhtnagov.copernicusfilms.com 

Its a short section but an important part of Vakhtangov's development. One thing which one needs to be careful of is that Vakhtangov's development as an artist is often seen in terms of a linear trajectory which moves logically from one production to another culminating in Turandot before his death. However the fact that Vakhtangov was approaching death influenced the choice of productions he undertook and how they were presented. As Vladislav Ivanov explained to me the fact that if Vakhtangov had not been in great pain and close to death it is unlikely that he would have chosen to stage Erik 14th Dybukk and Turandot. The themes of life and death run through these plays and in some sense defines their inner dynamic.

Steady progress with the first draft edit. The next stage is the Miracle of Saint Anthony section.