2005: antohins 100 Father-Russia * 2008 PSS

... everything that doesn't fit is here.

Quotes & Thoughts: The Russian Theatre After Stalin

The Russian poetry I leave here, it helped me to write RAT...

Theatre w/Anatoly * Russian-American Theatre (RAT): Click to View or Add Text.

TOPICS: bakhtin + father-russia + 3 sisters + dostoevsky + gogol + chekhov + eisenstein + tarkovsky + russian cinema + theatre theory + ussr + taganka theatre +

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ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA

my eGroups

We worked with Polunin in 1992-94 in St.Petersburg.

Для русских читателей -- к сожалению страницы все по-анлийски (даже там, где русский был бы больше к месту). Наверное все от того, что мне так было удобнее. Я только изредка получаю элекtронные записки из России и очень редко по-русски. Говорят, что в прошлом году количество пользующихся интернетом достигло 10 миллонов. Наверное пора мне завести отдельные страницы по-русски...

2002: Russian Pages (in Russian) * 2006: RAT new [ 2008 Election Year ] + chekhov.us * 2007 chekhov pages index

Chekhov: 5 Plays

3 Sisters (WebShow)

new: 2003 * Reading List(s) : Click to View or Add Text.

Summary

Questions

* one act fest antohins (new 2005)

Notes

If I will write in Russian, this directory will have updates. Or see my personal pages @ vtheatre.net/antohins.

2004 & After

Liberty is always unfinished business. --anonymous

ECHO: Moscow Radio [sound][ "bookmark" or/and "listen" ]

Russia On Reels : The Russian Idea in Post-Soviet Cinema * This is the first book to deal exclusively with Russian cinema of the 1990s. It introduces readers to the currents and common interests of contemporary Russian cinema, offers close studies of the work of filmmakers like Sokurov, Muratova and Astrakhan, reviews the Russian film industry in a period of massive economic transformation, and assesses cinema’s function as a definer of Russia’s new identity.

2005: total directing & total acting

"... The narration in a comedy often involves union and togetherness as we see in the marriage scene at the end of Midsummer's Night Dream. William Hazlitt tells us that one can also expect incongruities, misunderstandings, and contradictions. I am reminded of the play The Importance of Being Ernest and the humor by way of mistaken identity. Sigmund Freud tells us to expect excess and exaggeration in comedy. Chekhov's Marriage Proposal displays this excess both in language and in movements. Charles Darwin insists that in a comedy "circumstances must not be of a momentous nature;" whereas, Northop Frye identifies comedy as having a happy ending and using repetition that goes nowhere." mini-chekhov05: Four Jokes and One Funeral *

"K.I. From "Crime" is an intimate and explosive theatrical event that depicts the last living moments of Katerina Ivanovna (K.I.), a character drawn from the margins of Dostoyevsky's novel Crime and Punishment. K.I. is the widow of Raskolnikov's drinking pal,. Semyon Zakharovich Marmeladov. Staged in two rooms (not on a theatrical stage), the play elaborates on a complicated and powerful scene from the book, in which K.I. prepares a desperate memorial for Marmeladov, who was crushed to death by the horses of a passing carriage. Casting the audience as 'guests', and forcing her timorous children to perform songs and verses to demonstrate the nobility beneath their threadbare existence, K.I. careens whtrough a furious and explosive monologue."
The play is performed in Russian and English. K.I. From "Crime" has been seen in 14 countries around the world. This is the New York premiere. nytheatre.com

CAST Oksana Mysina, Elizabeth Boiko, Bridget Clark, Eugene Vovk
CONCEIVED BY Kama Ginkas

Jan. 2005

Fomenko interview (Russian)

2005 updates: Small Chekhov Fall * "Four Farces & One Funeral" -- Chekhov.05
Chekhov's one-acts are updated -- The Bear, The Proposal (1st act -- Oh, Love!), Wedding, Tobacco (Act II -- Ah, Marriage!), but I'm still working on the "funeral" (Last Day of Anton Chekhov). mini-chekhov
I am teaching DramLit -- groups.yahoo.com/group/dramlit (subscribe) and see THR215 for subjects, topics, titles.
Spring 2006 -- Waiting for Godot, Beckett -- new pages ( see shows )

Russian Directors, 20th century:

Tairov, Vakhtangov pages from direc.vtheatre.net *

Blogs:

360.yahoo.com/anatolant

bloglines.com/public/anatolant

Blogger. profile
anatolant.blogspot.com Anatoly XXI
vtheatre.blogspot.com Webman's Diary

* anatolant @ google.com
A. blog Director's Notes @ vtheatre.net
blog film-north

Russian Diary * русский дневник *

книга дурака 2006 [ru] Winter Fool

...

Index * Shows * Film-North * Theatre w/Anatoly * Theatre Theory * Classes * VIRTUAL THEATRE * Plays * Father-Russia: nonfiction (fragments) * In Russian: plays-in-progress * Cyber 3 Sisters: prod notes * Students mini-directory *

TEATR.US

portal(?) theatre [ru] -- ... too new to talk about.

Do not expect updayes in this RAT directory.
Nor in rat.vtheatre.net
or any other Russia-related zones.
Anatoly between Xmas and New 2009 Year

...

Two Russias, three, four... many.

"Winter Fool 1" [ru]

New? 2006. Updating the old pages. Script Analysis and Fundamentals of Directing classes; I use my webpages as commended reading, because they went over what I can require for undergrads. I try not to make new pages, but to use the existing ones. In fact, I am not doing much webbing after the stroke.

I still follow what is going with Theatre in Moscow. Mostly as a personal interest.

I write in Russian, not often.

The webpages came to the state I originally had in mind: I store here what I find interesting. (Maybe this might explain why I have Mandelstam on this page -- for my own please. The same with graphics. Somehow related in mood to Russia, memories of Russia? My own life? Questions I do not intend to answer. Well, preparation for reflections... Alas, I do not know when I could also to write my comments; that was the idea).

At least, more than before I post the links to the materials I use; subscribed to questia.com as you can see from the right tables.

Extending "service pages" as appendix, biblio, books, references... Finally!

It will be eight years since I am webmastering...

The web keeps me going, the journey without point of arrival.

Anyway, this is what notes page is for -- the self-reflections and "plans" for this directory.

Anatoly

RAT

8.28.04: Just came back from Moscow (my father's burial). Saw only one show, but talk with the old-timers (3rd Arbuzov' Studio). A few words about Russian Theatre: Ten Years Later.
I still belive that Moscow could be the theatre capital of the world. I still believe that Russia can be cultural capital... but looks that my Russians do not share it...
Russia lives through the same process that American theatre experiences for many decades. Dying. First, playwrights die. Second, directors. Last -- actors.
Maybe the public dies first.
Some say it was better under the Soviets. I don't think so. The theatre century is over and it began with the Soviets. Including stage directors as Meyerhold. No need for plays. No need for actors. Guess what? It's called "movies"!
Saw "The Town" (or "The City") and talk with Osya Rokhelgaus (artistic director and director of the show). He is happy and looks happy -- he is in place. The house is full. The play (Grishkovetz)? I don't know if there is a play (1.30 min). Nice moment here and there, good lead actor... I am a bad judge, my mind was on tragic, not dramatic matters. After 30 years of departure my Russian life ended. I live a catastrophe, not a crisis as the plays' hero...

I write about it (in Russian): Russian Trilogy. [ I will come back to finish my thoughts. ]

@John Freedman, April 19, 2001
Imagine this: A square in downtown Moscow is seized, flooded and turned into a lake by a bunch of clowns; a major park is taken over for two weeks by reveling jesters and masqueraders; later, as the madness seems ready to subside, a contingent of crazies leads a horde of carousers down to the river by the Rossia hotel and embarks downstream on a ship of fools as fireworks burst overhead.
What is this, the end of the world? A return to the Middle Ages? Somebody let the In Exile editors out of their cage?
In fact, it is a description of the beginning, the middle and the end of what promises to be one of the most spectacular events to hit Moscow in recent memory -- the 3rd International Theater Olympics, organized with chutzpah and abandon by the Chekhov International Theater Festival and the International Confederation of Theater Associations. This extravaganza follows the first two Olympics that were held in Greece in 1995 and in Japan in 1999.
To get a feel for the onslaught that is poised to hit Moscow broadside when the festival opens on Saturday, let's allow some numbers to do the talking.
Throughout the 70-day festival, running to June 29, approximately 85 professional and 46 student productions will be performed. The so-called Ship of Fools clown and carnival program will feature performances by some 25 street theaters, six clown shows put on by the greatest living practitioners of that art, and a half-dozen carnivals including the White carnival from Venice, the Black, or death, carnival from Mexico and the Colorful carnival from Brazil, Basel, Trinidad and Tobago.
If that is not enough, there will be approximately three dozen master classes, seminars and lectures led by such luminaries as Peter Brook, Peter Stein, Krystian Lupa, Robert Wilson, Christopher Marthaler and a host of others under the aegis of Anatoly Vasilyev's School of Dramatic Art and Valery Fokin's Meyerhold Center.
Theaters and artists from 35 countries as far-flung as Columbia and Australia will participate in what can only be called an orgy of theater.
It all commences Saturday with a two-pronged attack when mayor Yury Luzhkov joins four percussion ensembles at 5:45 p.m. to oversee the flooding of Theater Square shortly before the Piccolo Teatro of Milan takes the stage of the Maly Theater to perform its production of Carlo Goldoni's "Arlecchino, or the Servant of Two Masters." This show will run through April 28 with Monday as the only day off.
The inundation of Theater Square was the idea of Russia's clown-supreme Slava Polunin, who organized the clown, carnival and street-theater program.
"I believe street theater around the world has reached its peak," Polunin declares. "Right now, the quality of this genre is better than it has ever been. This and the acts of some of the world's best contemporary clowns are something I want Moscow to see."
Aside from Saturday's flood, the majority of the street theater and carnival activities will take place between June 17 and 29, on the last day of which a real ship of fools will set sail on the Moskva River beneath exploding skies. The venue for the carnivals and the clown shows will be the Hermitage Garden, the Hermitage Theater and the Novaya Opera Theater. Tickets will go on sale in mid-May at city ticket kiosks and the Confederation of Theater Associations.
Admission to street theater events, including performances by Australia's famous Stalker and Strange Fruits, England's Natural Theater Company and Red Elvises from the U.S., will, for the most part, be free of charge. Russian Directors: Click to View or Add Links.
Mandelstam:
Образ твой, мучительный и зыбкий,
Я не мог в тумане осязать.
"господи!" - Сказал я по ошибке,
Сам того не думая сказать.
Божье имя, как большая птица,
Bылетело из моей груди.
Bпереди густой туман клубится,
И пустая клетка позади.
              1912

Бессонница. Гомер. Тугие паруса.
Я список кораблей прочел до середины:
Сей длинный выводок, сей поезд журавлиный,
Что над Элладою когда-то поднялся.

Как журавлиный клин в чужие рубежи, -
На головах царей божественная пена, -
Куда плывете вы? Когда бы не Елена,
Что Tроя вам одна, ахейские мужи?

И море, и Гомер - все движется любовью.
Кого же слушать мне? И вот Гомер молчит,
И море Черное, витийствуя, шумит
И с тяжким грохотом подходит к изголовью.
                1915

Next: guide

Прославим, братья, сумерки свободы,
Великий сумеречный год!
В кипящие ночные воды
Опущен грузный лес тенет.
Восходишь ты в глухие годы,
О, солнце, судия, народ!

Прославим роковое бремя,
Которое в слезах народный вождь берет.
Прославим власти сумрачное бремя,
Ее невыносимый гнет.
B ком сердце есть, тот должен слышать, время,
Как твой корабль ко дну идет.

Мы в легионы боевые
Связали ласточек, - и вот
Не видно солнца, вся стихия
Щебечет, движется, живет.
Сквозь сети - сумерки густые -
Не видно солнца и земля плывет.

Ну, что ж, попробуем: огромный, неуклюжий,
Скрипучий поворот руля.
Земля плывет. Мужайтесь, мужи,
Как плугом, океан деля.
Мы будем помнить и в летейской стуже,
Что десяти небес нам стоила земля.
                        1918

@2001-2005 [an error occurred while processing this directive] *

©2004 filmplus.org * * home * about * guide * classes * advertise * faq * contact * news * forums * mailing list * bookstore * ebooks * search * calendar * games * polls * submit your link * web * film-north * Russian Classics: Click to View or Add Links.

Novgorod

1 января 1924

Кто время целовал в измученное темя, -
С сыновней нежностью потом
Он будет вспоминать, как спать ложилось время
В сугроб пшеничный за окном.
Кто веку поднимал болезненные веки -
Два сонных яблока больших, -
Он слышит вечно шум, когда взревели реки
Времен обманных и глухих.
Два сонных яблока у века-властелина
И глиняный прекрасный рот,
Но к млеющей руке стареющего сына
Он, умирая, припадет.
Я знаю, с каждым днем слабеет жизни выдох.
Еще немного - оборвут
Простую песенку о глиняных обидах
И губы оловом зальют.
О глиняная жизнь! О умиранье века!
Боюсь, лишь тот поймет тебя,
В ком беспомощная улыбка человека,
Который потерял себя.
Какая боль - искать потерянное слово,
Больные веки поднимать
И, с известью в крови, для племени чужого
Ночные травы собирать.
Век. Известковый слой в крови больного сына
Твердеет. Спит Москва, как деревянный ларь,
И некуда бежать от века-властелина...
Снег пахнет яблоком, как встарь.
Мне хочется бежать от моего порога.
Куда? На улице темно,
И, словно сыплют соль мощеною дорогой,
Белеет совесть предо мной.
По переулочкам, скворешням и застрехам,
Недалеко, собравшись как-нибудь, -
Я, рядовой седок, укрывшись рыбьим мехом,
Все силюсь полость застегнуть.
Мелькает улица, другая,
И яблоком хрустит саней морозный звук,
Не поддается петелька тугая,
Все время валится из рук.
Каким железным, скобяным товаром
Ночь зимняя гремит по улицам москвы,
То мерзлой рыбою стучит, то хлещет паром
Из чайных розовых, как серебром плотвы.
Москва - опять Москва. Я говорю ей:"здравствуй!
Не обессудь, теперь уж не беда,
По старине я уважаю братство
Мороза крепкого и щучьего суда".
Пылает на снегу аптечная малина,
И где-то щелкнул ундервуд.
Спина извозчика и снег на пол-аршина:
Чего тебе еще? Не тронут, не убьют.
Зима-красавица, и в звездах небо козье
Рассыпалось и молоком горит,
И конским волосом о мерзлые полозья
Вся полость трется и звенит.

А переулочки коптили керосинкой,
Глотали снег, малину, лед,
Все шелушится им советской сонатинкой,
Двадцатый вспоминая год.
Ужели я предам позорному злословью -
Вновь пахнет яблоком мороз -
Присягу чудную четвертому сословью
И клятвы крупные до слез?

Кого еще убьешь? Кого еще прославишь?
Какую выдумаешь ложь?
То ундервуда хрящ: скорее вырви клавиш -
И щучью косточку найдешь;
И известковый слой в крови больного сына
Растает, и блаженный брызнет смех...
Но пишущих машин простая сонатина -
Лишь тень сонат могучих тех.
                  1924

Я вернулся в мой город,знакомый до слез,
До прожилок, до детских припухлых желез.

Ты вернулся сюда, - так глотай же скорей
Рыбий жир ленинградских речных фонарей.

Узнавай же скорее декабрьский денек,
Где к зловещему дегтю подмешан желток.

Петербург, я еще не хочу умирать:
У тебя телефонов моих номера.

Петербург, у меня еще есть адреса,
По которым найду мертвецов голоса.

Я на лестнице черной живу, и в висок
Ударяет мне вырванный с мясом звонок.

И всю ночь напролет жду гостей дорогих,
Шевеля кандалами цепочек дверных.
                     декабрь  1930