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Na Vsyakogo Mudretsa Dovolno Prostoty
''Enough Stupidity in Every Wise Man'' (russian: На всякого мудреца довольно простоты; translit. Na vsyakogo mudretsa dovolno prostoty) is a five- act comedy by Aleksandr Ostrovsky.Brockett and Hildy (2003, 370). The play's title has been rendered in English in many different ways in the critical literature, including: ''The Diary of a Scoundrel'', which Brockett and Hildy give as an alternative; or simply ''The Scoundrel'', in Gerould (1974, 73); ''Even Wise Men Err'' in Sealey Rahman (199, 174); ''Even a Wise Man Stumbles'', in Magarshack (1950, 309). The play offers a satirical treatment of bigotry and charts the rise of a double-dealer who manipulates other people's vanities. It is Ostrovsky's best-known comedy in the West. Production history 1868 – Alexandrinsky Theatre, Saint Petersburg. 1868 – Maly Theatre, Moscow. 1885 – Korsh Theatre, Moscow. The seminal Russian theatre director Konstantin Stanislavsky directed the play with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Konstantin Stanislavski
Konstantin Sergeyevich Stanislavski ( Alekseyev; russian: Константин Сергеевич Станиславский, p=kənstɐnʲˈtʲin sʲɪrˈgʲejɪvʲɪtɕ stənʲɪˈslafskʲɪj; 7 August 1938) was a seminal Russian Soviet Federative Socialist Republic, Soviet Russian theatre practitioner. He was widely recognized as an outstanding character actor and the many List of productions directed by Konstantin Stanislavski, productions that he directed garnered him a reputation as one of the leading theatre directors of his generation. His principal fame and influence, however, rests on Stanislavski's system, his "system" of actor training, preparation, and rehearsal technique. Stanislavski (his stage name) performed and directed as an Amateur theatre, amateur until the age of 33, when he co-founded the world-famous Moscow Art Theatre (MAT) company with Vladimir Nemirovich-Danchenko, following a legendary 18-hour discussion. Its influential tours of Europe (1906) and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kachalov
Vasily Ivanovich Kachalov (russian: Василий Иванович Качалов; – 30 September 1948), was one of Russia's most renowned actors. He worked closely and often with Konstantin Stanislavski. He led the so-called Kachalov Group within the Moscow Art Theatre. It was Kachalov who played Hamlet in the Symbolist production of 1911. His father was Ivan Shverubovich, a Belarusian Orthodox priest from Vilnius. His schoolmates at Vilnius Gymnasium included Felix Dzerzhinsky and Konstantinas Galkauskas. In 1896, he left the law department of Saint Petersburg University in order to pursue an acting career. After four years of touring the Russian provinces and a brief stint at the Suvorin Theatre, Kachalov made his debut at the Moscow Art Theatre as Tsar Berendey in ''The Snow Maiden'' (spring 1900). The snow maiden was played by Stanislavski's wife, Maria Lilina, who fell in love with Kachalov; she described their affair as "a touch of private happiness".Maria Ignatieva. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vozdvizhenka Street
Vozdvizhenka Street, (russian: Воздвиженка), is a radial street connecting Manege Square and Arbat Square in central Arbat District of Moscow, Russia. The street's name refers to a monastery that existed here since 1450 and perished in the Fire of Moscow (1812). In 1934–1946, it was known as Comintern Street (улица Коминтерна), in 1946-1991 as Kalinin Street (улица Калинина) Kalinin Prospect (проспект Калинина). Overview Vozdvizhenka stretches due west from Kutafya Tower of Moscow Kremlin, past Mokhovaya Street, to Arbat Square on the Boulevard Ring. Present-day Vozdvizhenka incorporates a former square between Moscow Manege, Kutafya Tower and Mokhovaya Street that used to be a separate entity, called Sapozhkovskaya Square or Manege Square (different from present-day Manege Square). Vozdvizhenka is the first stretch of an old route to Smolensk, continued west by New Arbat Street and Kutuzovsky Prospekt. Prior to devel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arseny Morozov House
The Arseny Morozov House is a historic building located at 16 Vozdvizhenka Street, Moscow. It was designed by Viktor Mazyrin for his friend Arseny Morozov. The pair had toured around Portugal and been impressed by the Pena Palace in Sintra. An eclectic building with Neo-Manueline architecture, the Morozov House was constructed on the land presented to Arseny by his mother Varvara. Mazyrin built the house between 1895 and 1899. According to the city legend, when she saw the finished mansion, Varvara Morozova exclaimed: "Only I used to know that you’re a fool, now the whole of Moscow will know!" Anarchist Occupation The building was one of over twenty expensive residences occupied by the Moscow Federation of Anarchist Groups following the February Revolution. The art theorist Aleksei Gan Aleksei Mikhailovich Gan ( Russian: Алексей Михайлович Ган; born Imberkh; 1887 or 1893 – 8 September, 1942) was a Russian anarchist and later Marxist avant-garde ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Proletcult Theatre
Proletcult Theatre (Russian: Театры Пролеткульта; abbr. from Proletarian Cultural and Educational Organizations Theatre) was the theatrical branch of the Soviet cultural movement Proletcult. It was concerned with the powerful expression of ideological content as political propaganda in the years following the revolution of 1917. Platon Kerzhentsev was one of its principal practitioners. It was used as a tool of political agitation that promoted a culture of the factory-floor and industrial motifs, but also folk singing and avant-garde.Stites (1992, 40). Plot was unimportant; its goal was to shock the audience with its style of performance, lighting techniques, props, radio broadcasts, blown-up newspaper headlines and slogans, projected films, circus elements, etc. The Proletcult Theatre attempted to affect the audience psychologically and emotionally, producing a shock in the spectator, the effect of which is to make the viewer aware of the condition of their o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Circus
A circus is a company of performers who put on diverse entertainment shows that may include clowns, acrobats, trained animals, trapeze acts, musicians, dancers, hoopers, tightrope walkers, jugglers, magicians, ventriloquists, and unicyclists as well as other object manipulation and stunt-oriented artists. The term ''circus'' also describes the performance which has followed various formats through its 250-year modern history. Although not the inventor of the medium, Philip Astley is credited as the father of the modern circus. In 1768, Astley, a skilled equestrian, began performing exhibitions of trick horse riding in an open field called Ha'Penny Hatch on the south side of the Thames River, England. In 1770, he hired acrobats, tightrope walkers, jugglers and a clown to fill in the pauses between the equestrian demonstrations and thus chanced on the format which was later named a "circus". Performances developed significantly over the next fifty years, with large-scale theat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Art Movement
An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a specific period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defined within a number of years. Art movements were especially important in modern art, when each consecutive movement was considered as a new avant-garde movement. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality ( figurative art). By the end of the 19th century many artists felt a need to create a new style which would encompass the fundamental changes taking place in technology, science and philosophy ( abstract art). Concept According to theories associated with modernism and the concept of postmodernism, ''art movements'' are especially important during the period of time corresponding to modern art. The per ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Russian Futurism
Russian Futurism is the broad term for a movement of Russian poets and artists who adopted the principles of Filippo Marinetti's "Manifesto of Futurism," which espoused the rejection of the past, and a celebration of speed, machinery, violence, youth, industry, destruction of academies, museums, and urbanism; it also advocated the modernization and cultural rejuvenation. Russian Futurism began roughly in the early 1910s; in 1912, a year after Ego-Futurism began, the literary group "Hylea" - also spelt "Guilée" and "Gylea" – issued the manifesto ''A Slap in the Face of Public Taste''. The 1912 movement was originally called Cubo-Futurism, but this term is now used to refer to the style of art produced. Russian Futurism ended shortly after the Russian Revolution of 1917, after which former Russian Futurists either left the country, or participated in the new art movements. Notable Russian Futurists included Natalia Goncharova, Mikhail Larionov, David Burliuk, Kazimir Malevic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Russian Avant-garde
The Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930—although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that flourished at the time; including Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum and Neo-primitivism. Many of the artists who were born, grew up or were active in what is now Belarus and Ukraine (including Kazimir Malevich, Aleksandra Ekster, Vladimir Tatlin, Wassily Kandinsky, David Burliuk, Alexander Archipenko), are also classified in the Ukrainian avant-garde. The Russian avant-garde reached its creative and popular height in the period between the Russian Revolution of 1917 and 1932, at which point the ideas of the avant-garde clashed with the newly emerged state-sponsored direction of Socialist Realism. Artists and de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Revue
A revue is a type of multi-act popular theatrical entertainment that combines music, dance, and sketches. The revue has its roots in 19th century popular entertainment and melodrama but grew into a substantial cultural presence of its own during its golden years from 1916 to 1932. Though most famous for their visual spectacle, revues frequently satirized contemporary figures, news or literature. Similar to the related subforms of operetta and musical theatre, the revue art form brings together music, dance and sketches to create a compelling show. In contrast to these, however, revue does not have an overarching storyline. Rather, a general theme serves as the motto for a loosely-related series of acts that alternate between solo performances and dance ensembles. Owing to high ticket prices, ribald publicity campaigns and the occasional use of prurient material, the revue was typically patronized by audience members who earned more and felt even less restricted by middle-class ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sergei Tretyakov (writer)
Sergei Mikhailovich Tretyakov (Russian language, Russian: Серге́й Миха́йлович Третьяко́в; 20 June 1892, Goldingen, Courland Governorate, Russian Empire (today Kuldīga, Latvia) – September 10, 1937, Moscow, Russian SFSR, USSR) was a USSR, Soviet Russians, Russian Constructivism (art), constructivist writer, playwright, poet, and special correspondent for ''Pravda''. Life and career Sergei Tretyakov was born to a Russians, Russian father, Mikhail Konstantinovich Tretyakov, and a Baltic Germans, Baltic German mother, Elizaveta (Elfriede) Emmanuilovna Tretyakova (née Meller). His father was a school teacher. Tretyakov graduated in 1916 from the department of law at Moscow University. He began to publish in 1913 and just before the October Revolution, Russian Revolution he became associated with the Russian Futurism, ego-futurists. In 1919 he married Ol’ga Viktorovna Gomolitskaya. Soon after the publication of ''Iron Pause'', he became heavily i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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