A major reissue of a book which is used by students of Meyerhold across the world This was the first collection of Meyerhold's writings and utterances to appear in English and covers his entire career as a director from 1902 to 1939. These are supplemented by a critical commentary, relating Meyerhold to his period and containing descriptions, based on eye-witness accounts, of all his major productions.

Meyerhold on Theatre

This dissertation examines the working processes and professional activities of American scenic designers between 1910 and 1950. Beginning with the assertion that a common idea of design process has persisted among American professionals for much of the century, my case studies probe the history of “the process.” Previous historians have noted that the modern scene design process was heavily informed by the New Stagecraft movement and promulgated its aesthetic values: simplicity, unification, collaboration. Inspired by European modernist production, especially the work of Edward Gordon Craig, Adolph Appia, and Max Reinhardt, New Stagecraft artists produced simplified or abstract settings, unified design concepts, and introduced a more collaborative production model. This dissertation argues that the New Stagecraft revolution was not only an aesthetic shift, but also the beginning of theatrical design as a profession. I do so by analyzing ways in which New Stagecraft designers defined and defended their professional status. They developed new tools for script analysis and documenting their work, published books and articles demonstrating the value of good design, and strategically allied themselves with organized labor and major universities. They also institutionalized their practices in labor regulations, entrance exams, and educational curricula. The perceived stasis of the design process can be attributed to the preservation of specific design behaviors in these institutions. Methodologically I draw on studies of designing based in the cognitive and design sciences. Archived remnants of past designers are analyzed through principles of situated and extended cognition, such as offloading, affordances, and artifact use. I then develop my conclusions through concepts of professional expertise, including reflective practice and practicum education, and finally link individual practices to social change by applying the history of professionalization as it has been developed by sociologists. In total this dissertation charts a method for applying cognitive studies research to theatrical design history, and a way of linking private creative practices to larger changes in theatrical production methods. By studying the behavior of influential scenic designers, both in the studio and in their professional networks, I show how strategically placed individuals’ processes came to define the field.

/pdf/developing-the-modern-scene-design-process-cognition-and-the-240topy38e.pdf

Developing the modern scene design process: Cognition and the new stagecraft

Leaving aside historical and mythological dramas, a considerable number of plays written for the Abbey Theatre between 1904 and the outbreak of the Second World War represent emigration. They enjoyed varying degrees of success. In 1904 G.B. Shaw portrayed an Irish émigré as one of the two protagonists in John Bull’s Other Island; in the following two years Padraic Colum’s The Land and William Boyle’s The Mineral Workers were enthusiastically received by Abbey Theatre audience, the former with its depiction of young Irish men and women emigrating to America, the latter, an engineer returning to Ireland from overseas; 1907 saw three plays presenting emigration as one of the great Irish issues, both politically and economically: J.M. Synge’s The Playboy of the Western World, George Fitzmaurice’s The Country Dressmaker and Lady Augusta Gregory’s The Jackdaw. They were followed by T.C. Murray’s Birthright, Lennox Robinson’s Harvest and Colum’s Thomas Muskerry. Indeed, it is almost impossible to provide an exhaustive list of all the plays dealing with emigration. The present paper aims to discuss a selection of significant plays intended for or staged at the Abbey Theatre in the first decades of the twentieth century, analysing what emigration stood for, and how it was exploited dramatically. The historical boundaries of this research (1904-1939) provide a provisional limit to an otherwise too vast study for the present paper.

The Land of Saints and How to Get Out of It. Irish Diaspora on the Irish Stage (1904 to 1939)

Chekhov’s drama has traditionally been associated with detailed, even cluttered, naturalistic settings.1 Occasionally, as in the final act of Uncle Vanya, set in Vanya’s room, the description of the stage is indeed elaborate. Generally, however, Chekhov’s directions are “laconic,”2 certainly compared with those of Ibsen and Strindberg. The scenic elements are carefully, scrupulously selected and are often emblematic: according to Meyerhold, Chekhov insisted that “the stage reflects the quintessence of life and there is no need to introduce anything superfluous on to it.”3 Chekhov’s description of the setting for Act Two of The Cherry Orchard is invested with particular symbolic weight.4 Therefore, as Beverly Hahn insists, it “demands the most absolute precision for its effect”:5

/pdf/a-blind-spot-chekhov-s-deepest-horizons-4m5u0qhkmv.pdf

A Blind Spot: Chekhov's Deepest Horizons

“In Dreams Begins Responsibility:” The Role of Irish Drama and the Abbey Theatre in the Formation of Post-Colonial Irish Identity. (May 2006) Rebecca Lynn Stout, B.A., University of Wisconsin – Milwaukee; M.A., University of Wisconsin – Milwaukee Chair of Advisory Committee: Dr. Marian Eide This research does not hope to give a finalized portrait of Ireland and its vast and diverse people. Instead, it hopes to add one more piece to the complicated mosaic that is an honest depiction of Irish personal and national identity. Several plays by authors considered to be quintessential Irish nationalists have been read in conjunction with those authors’ biographies and the historical moments in which those plays were created, to offer a multi-faceted perspective to the intersection between art, politics and individual senses of personhood and nation. The final conclusion is that the growth and development of a nation requires that the definition of national identity be in a constant state of performance and revision. Several key conclusions can be drawn from the findings here. First, Irish identity is slippery and elusive. To try to finalize a definition is to stunt the growth of a constantly evolving nation. Secondly, personal and national identity formation cannot be separated into two distinct processes. Due to the unique political situation leading up to Irish independence and the subjugated state of all Irish people, regardless of their class or economic distinction, an individual always exists in relationship to those other

/pdf/in-dreams-begins-responsibility-the-role-of-irish-drama-and-guhehzoz9k.pdf

"In dreams begins responsibility:" the role of Irish drama and the Abbey Theatre in the formation of post-colonial Irish identity

In many ways, the Moscow Art Theatre's production of Chekhov's The Cherry Orchard was the most problematic and contentious of all its efforts to stage his plays. Events surrounding the composition of the play and its staging were not propitious. Chekhov wrote it over a prolonged period during which he was an increasingly sick man; the premiere, in January 1904. was closely followed by the dramatist's death in July. What is more, Chekhov's dissatisfaction with the production was couched in terms of frustration and anger unlike anything to be found elsewhere in his correspondence. The extent to which these sentiments can be attributed to his illness, rather than to real inadequacies in the interpretation, compounds the difficulties that the play and the production jointly present.

Stanislavsky's Production Score for Chekhov's The Cherry Orchard (1904): A Synoptic Overview

The Politics of Irish Drama: Plays in Context from Boucicault to Friel by Nicholas Grene (review)

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Stanislavsky's Production Score for Chekhov's The Cherry Orchard (1904): A Synoptic Overview

The Politics of Irish Drama: Plays in Context from Boucicault to Friel by Nicholas Grene (review)