Biography of Stanislavsky to children

Society demanded a new approach to the very process of productions, the choice of roles and acting, and this felt not only Stanislavsky, but also all creative people. Among these was Vladimir Nemirovich-Danchenko, to whom all the ideas of Stanislavsky were very close. The masters of theatrical art first met in the year. In just eighteen hours of communication, they discussed many issues, after they decided to create an art theater in Moscow.

In his memoirs, Konstantin Sergeyevich repeatedly noted that when creating his brainchild with Nemirovich-Danchenko, they tried to express a protest "against the recitation of pathos, acting play and the usual manner of the game in classic canons." The founders also believed that the outdated rules of the classical theater are not suitable for the present. It was precisely because of the dissatisfaction of the state in which the Russian theater was at the end of the nineteenth century, as well as the need to carry out reforms and look for a way out of the stage routine provoked to meet Otto Brahm, Andre Antoine, Alexanda Yuzhin and Vladimir Nenortovich-Danchenko.

In Nemirovich-Danchenko, Konstantin Sergeyevich invited to a meeting, at which they discussed issues about the state of the theater world. Stanislavsky even preserved a card with an inscription from a colleague, who read “I will be in the Slavic bazaar at an hour - should we see me? Another inscription appeared on the envelope later: “The first significant date with Nemirovich-Danchenko.

The first moment of the founding of our theater. ” Much later, this story became a real legend, and in the course of history a reform program was formed. In the future, Stanislavsky described the meeting in the future: “We discussed artistic ideals and purity of art, technology and stage ethics, organizational issues and plans for the future.” The troupe began its work in June, and was located in a place near Moscow, called Pushkino.

In the first months, it became absolutely clear to everyone that the separation of responsibilities in this organization is nominal.

The first production of the new theater was King Fedor Ioannovich. Stanislavsky made amazing mise -en -scenes, which at the premiere surprised and struck the sophisticated audience. At the same time, it was Nemirovich-Danchenko who insisted that the main role of Tsar Fedor will be played by one of his students by Ivan Moskvin. In individual classes with a young actor, a sort of image of a “peasant-tsar” was created, which became the opening of the season.

However, the real splash in the world of art was produced by the "Seagull", which is based on the work of Anton Chekhov of the same name. Her audience first saw in the year. With the literary genius of Konstantin Sergeyevich, there was friendly relations that were based on creativity. The famous director always said that it was from the “Tsar Fedor” that the historian-household line of theatrical productions of the MHAA took the beginning of the historian.

Soon after this, the audience enjoyed the viewing of the “Venetian merchant”, “The death of John the Terrible”, “Antigon”, “Power of Darkness”, “Julius Caesar” and many friends. In the future, all those discoveries that were made were continued and brought into harmony. All scattered pieces gathered together with the help of an inextricable plot line. The director also developed his own method of communicating actors, which received the name "lens outside the partner." The audience at the presentation until the very end remained in anticipation and languor, as well as recognized life in the details unthinkable for them.

There was a year and Stanislavsky in the company with Vsevolod Meyerhold thought about the creation of the Studio Theater Studio on the cook street. Looking for new theatrical forms, the director put on the stage “Human Life”, which is based on the work of Leonid Andreev, written in the year. Stanislavsky on stage when Stanislavsky created a community with Nemirovich-Danchenko, he believed his colleague for a word that the game of dramatic roles was not his role.

On the scene of the Moscow Art Theater, the actor continued to appear only in the performances in which he was used earlier. In the first season of the new theater, Stanislavsky played in the Seagull and Gedde Gabbler. Throughout his life, Stanislavsky set himself new tasks and goals that helped him develop and realize the creative side. At the same time, he liked to feel his genius on the stage, and this minute of the highest inspiration when you stand in front of a huge crowd of spectators.

Over time, Stanislavsky transferred his theoretical searches in the field of acting to the first studio, the first performance of which the audience saw in the year. The last roles in the acting career of Stanislavsky was the image in the tragedy “Mozart and Salieri”, as well as the role of Rostanv, in the play “The village of Stepanchikov”, which he had to perform at the anniversary evening of the Moscow Art Theater.

The production did not take place, and until today remains a mystery for what reason. At the same time, it is worth considering that rehearsals on all evidence were simply perfect. Stanislavsky devoted a huge amount of time to young actors and their education, working with them practical and theoretical systems developed by him.According to him, the actors should seem to get used to the role, and not at all depict feelings and experiences, trying to simultaneously convey and keep track of the thought from the play.

Then the famous phrase “I do not believe! At such moments, the corpse understood that the characters they play look unnatural. It was the reformer that forced to change the attitude to the activities of the directors. Previously, all directors were only a person who takes literary texts and shifts them to a stage format. Since the time of Stanislavsky, the directors have become the main figure in the process of creativity, which could change, interpret and place their own accents.

Six years later, an opera studio was created at the Bolshoi Theater. In the twenties of the last century, the director went to the USA on tour along with the main corpse of his theater. Then, for the first time, he wrote a book that fans learned under the name “My Life in Art”. Today it is called "Stanislavsky Electro." The country was experiencing dramatic changes, and society liked what happened to the world of art.

Having a good origin and social situation, Stanislavsky found hot support from the Soviet regime. It should be noted that at that time the Moscow Art Theater received the status of academic, standing in one step with small and large theaters. Personal life for a long life Konstantin Sergeyevich married only once, and Maria Petrovna Lilina became his wife. By the way, this is the name of the stage pseudonym of the actress, who at birth received the surname Perevshchikov.

The couple were together until the last day of Stanislavsky, and three children were born in their family. Unfortunately, Ksenia died in infancy from pneumonia in the year. Kira Alekseeva in adulthood took the post of director of the Stanislavsky House-Museum. The only heir Igor married the granddaughter of the famous Russian writer Leo Tolstoy. Konstantin Stanislavsky with his wife in the personal life of the famous director was a place for secret novels.

They said that he has an illegitimate son from the maid, whom the father of the famous director later adopted. The boy is known as Vladimir Sergeevich Sergeyev. In adulthood, he became a professor at Moscow State University. The death of the year was organized in a jubilee evening dedicated to the foundation of the Moscow Art Theater. Konstantin Sergeyevich, who went on stage as an actor that evening, had a heart attack during the performance.

Subsequently, doctors forbade him to go on stage, and the man began to devote a lot of time to pedagogical and directorial activities. The grave of Konstantin Stanislavsky ten years later, after the death of Stanislavsky, his book was printed under the name “Actor's Work on Him”. For many years, the famous director worked, overcoming painful sensations, and fought with the disease.

He died on August 7 from arterosclerotic formations in the vessels. The facts when Konstantin was small and first began to go out onto the home scene, then each of his output was accompanied by curious cases. Already as an adult, playing in the "Marriage" according to the Gogolevsky work, he had to get out of the fake window. However, the scene was so small that when performing actions, he walked along the piano, which stood behind the scenes.

Because of this maneuver, the lid bent, and a number of strings broke off. After the production, a dance evening was supposed to take place, but due to the fact that the tool was out of order, I had to dance under the performance of an invited artist. This production took place in the year of the family of the family of Andrei Karzinkin. Then the young actor first worked with Mikhail Resimov, an artist of the Maly Theater, who led the production.

One of the students of Stanislavsky at one time was Richard Boleslavsky, who moved to America during the revolution in Russia. In the new country, he opened an acting school where he applied the methods of teaching his famous teacher. According to the same principles, Lee Strasberg studied, who much later opened the acting studio, which was visited by many Hollywood stars.