Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-fscjk Total loading time: 0 Render date: 2024-12-27T17:57:02.543Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  12 November 2019

Maria Shevtsova
Maria Shevtsova
Affiliation:
Goldsmiths, University of London
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Rediscovering Stanislavsky , pp. 270 - 278
Publisher: Cambridge University Press
Print publication year: 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Besedy, K. S. Stanislavskogo v Studiya Bolshogo teatra v 1918–1922, recorded in shorthand and transcribed and compiled by Antarova, Konkordiya (general ed.), with an introduction by Gurevich, L. Ya., Moscow and Leningrad: All-Russian Theatre Association, 1939Google Scholar
Rezhissyorsky Plan Otello, ed. Zograf, N., Moscow and Leningrad: Iskusstvo, 1945Google Scholar
Sobraniye sochineny v vosmi tomakh, ed. Kedrov, M. N. et al. (with explanatory notes by Kristi, G. V.), 8 vols., Moscow: Iskusstvo, 1954–61Google Scholar
Sobraniye sochineny v devyati tomakh, ed. Efremov, O. N., Vilenkin, V. Ya., Smeliansky, A. M., Soloyova, I. N. et al., 9 vols, Moscow: Iskusstvo, 1980–99Google Scholar
Iz zapisnykh knizhek, 2 vols., ed. Prokofiev, V. N., Moscow: All-Russian Society, 1986Google Scholar
Rezhissyorskiye ekzemplyary K. S. Stanislavskogo, 6 vols., ed. Vilenkin, V. Ya. and Solovyova, I. N. (Vol. 2 co-ed. Vinogradskaya, I. N.), Moscow: Iskusstvo, 1980–94; hors série, Dyadya Vanya, ed. I. N. Solovyova, Moscow–St Petersburg: Atheneum–Feniks, 1994Google Scholar
Stanislavsky repetiruyet, ed. Vinogradskaya, I. N., Moscow: Moscow Art Theatre, 2000Google Scholar
Zapisnye knizhki (no ed.), Moscow: Vagrius, 2001Google Scholar

Secondary Sources

Balukhaty, S. D., Chayka v postanovke Moskovskovo Khudozhestvennogo Teatra, Rezhisserskaya partitura K. S. Stanislavskogo, Leningrad: Iskusstvo, 1938Google Scholar
Birman, Serafima, Put aktrisi, Moscow: All-Russian Theatre Society, 1959Google Scholar
Bolshaya Sovetskaya Entsiklopediya, Moscow: State Scientific Press, 1956Google Scholar
Brodskaya, G., Alekseyev-Stanislavsky, Chekhov i drugiye. Vishnyovosadnaya epopeya, Moscow: Agraph, 2000Google Scholar
Bryusov, Valery, ‘Realism i uslovnost na stsenye’ in Teatr. Kniga o novom teatre, Moscow: GITIS, 2008, 202–14Google Scholar
Chekhov, Mikhaïl, Literaturnoye naslediye, ed. Knebel, Maria et al., 2 vols., Moscow: Iskusstvo, 1995Google Scholar
Chepurov, A. A., Aleksandrinskaya Chayka, St Petersburg: Aleksandrinsky Theatre Library, 2002.Google Scholar
Cherkassky, Sergey, Masterstvo aktyora: Stanislavsky, Boleslavsky, Strasberg, St Petersburg: Russian State Institute of Scenic Arts, 2016Google Scholar
Dodin, Lev, Puteshestviye bez kontsa. Pogruzheniye v miry Chekhova, St Petersburg: Baltic Seasons, 2010Google Scholar
Dodin, Lev, Puteshestviye bez kontsa. Pogruzheniye v miry Tri sestry, St Petersburg: Baltic Seasons, 2011Google Scholar
Dodin, Lev, Puteshestviye bez kontsa. Pogruzheniye v miry Vishnyovy sad, St Petersburg: Baltic Seasons, 2016Google Scholar
Efros, Nikolay, Moskovsky Khudozhestvenny Teatr 1898–1923, Moscow and St Petersburg: State Publishing House, 1924Google Scholar
Evreinov, Nikolay, Teatralizatsiya zhizni, Moscow: Vremya, 1922Google Scholar
Feldman, Oleg (documents compiled and ed.), Meyerhkolda naslediye, Vol. 3, Moscow: Novoye Izdatelstvo, 2010Google Scholar
Galendeyev, Valery, Ucheniye K. S. Stanislavskogo o stsenicheskom slove, N. K. Cherkasov Leningrad State Institute of Theatre, Music and Film, 1990Google Scholar
Giatsintova, Sofya, C pamyatyu nayedinye, Moscow: Iskusstvo, 1989Google Scholar
Gladkov, Aleksandr, Teatr. Vospominaniya i razmyshleniya, Moscow: Iskusstvo, 1980Google Scholar
Gorchakov, N., Rezhissyorskiye uroki Stanislavskogo, Moscow: Iskusstvo, 1952Google Scholar
Kalashnikov, Yu. (ed.), Stanislavsky, reformator opernogo iskusstva: Materialy, Dokumenty, Moscow: Musyka, 1988Google Scholar
Kalugina, O. V., Skulptor Anna Golubkina, Moscow: ‘Galart’ Publisher, 2006Google Scholar
Klimenko, L. A., ‘Chetvyortaya studiya MKhATa – Moskovsky Gosudarstvenny Teatr Chetvyortaya Studiya’ in Sovyetsky teatr 1921–1926. Dokumenti i materialy, ed. Trabsky, A. Ya., Leningrad: Iskusstvo, 1975, 188–228Google Scholar
Knebel, Maria, Slovo v tvorchestve aktyora, Moscow: Iskusstvo, 1954Google Scholar
Knebel, Maria, Vsya zhizn, Moscow: All-Russian Theatre Society, 1967Google Scholar
Knebel, Maria, O deystvennom analize pyesi i roli, Moscow: GITIS, 2014Google Scholar
Knipper-Chekhova, Olga Leonardovna, Chast pervaya. Vospominaniya i stati. Perepiska s A. P. Chekhovym (1902–1904), Part I, Moscow: Iskusstvo, 1972Google Scholar
Komissarzhevsky, F. F., Tvorchestvo aktyora i teoriya Stanislavskogo, Petrograd (n.p.), 1917Google Scholar
Krechetova, Rima, Stanislavsky, Moscow: The Young Guard, 2013Google Scholar
Kristi, G., Rabota Stanislavskogo v opernom teatre, Moscow: Iskusstvo, 1952Google Scholar
Markov, P. A., Moskovsky Khudozhestvenny Teatr Vtoroy, Moscow: Moscow Art Theatre, 1925Google Scholar
Meyerhold, V. E., Stati. Pisma. Rechi. Besedy, 2 vols., Moscow: Iskusstvo, 1968Google Scholar
Mikhalsky, F. N. and Kapitaykin, E. S., ‘Pervaya Studiya’ in Sovyetsky teatr 1921–1926. Dokumenti i materialy, ed. Trabsky, A. Ya., Leningrad: Iskusstvo, 1975, 160–87Google Scholar
Nemirovich-Danchenko, Vladimir, Iz Proshlogo, Moscow: Moy20vek, 2003Google Scholar
Novitskaya, L. N., Uroki vdokhnoveniya. Sistema K. S. Stanislavskogo v deystviye, Moscow: All-Russian Theatre Society, 1984Google Scholar
Paston, Eleonora, Abramtsevo. Iskusstvo i zhizn, Moscow: Iskusstvo, 2003Google Scholar
Polkanova, Maria (compiled and ed.), I vnov o Khudozhetsvennom. MXAT v vospominaniyakh i zapisyakh 1901–1920, Moscow: Avantitul, 2004Google Scholar
Polyakova, Yelena, Stanislavsky, Moscow: Iskusstvo, 1977Google Scholar
Polyakova, Yelena, Teatr Sulerzhitskogo. Etika. Estetika. Rezhissura, Moscow: Agraf, 2006Google Scholar
Radishcheva, O. A., Stanislavsky i Nemirovich-Danchenko. Istoriya teatralnykh otnosheny. 1897–1908, Moscow: Artist. Director. Theatre, 1997Google Scholar
Radishcheva, O. A., Stanislavsky i Nemirovich-Danchenko. Istoriya teatralnykh otnosheny. 1909–1917, Moscow: Artist. Director. Theatre, 1999Google Scholar
Radishcheva, O. A., Stanislavsky i Nemirovich-Danchenko. Istoriya teatralnykh otnosheny. 1917–1938, Moscow: Artist. Director. Theatre, 1999Google Scholar
Radishcheva, O. A. and Shingaryova, E. A. (eds.) (Vol. 1 with Yu. Vinogradova, M.), Moskovsky Khudozhestvenny Teatr v russkoy teatralnoy kritike 1898–1943, 4 vols., Moscow: Artist. Director. Theatre, 2005–10Google Scholar
Rudnitsky, K. L., Russkoye rezhissyorskoye iskusstvo 1898–1917, Moscow: GITIS, 2014Google Scholar
Rumyantsev, P. I., Stanislavsky i opera, Moscow: Iskusstvo, 1969Google Scholar
Smeliansky, A., Mikhaïl Bulgakov v Khudozhestvennom Teatre, Moscow: Iskusstvo, 1986Google Scholar
Smyshlyayev, Valentin, Teoriya obrobotki stsenicheskogo zrelishcha, Izhevsk: Proletkult Publication, 1921Google Scholar
Sobolevskaya, O. C., K. S. Stanislavsky rabotayet, beseduyet, otdykhayet, Moscow: STD, 1988Google Scholar
Solovyova, Inna, Khudozhestvenny Teatr. Zhizn i priklyucheniye ideyi, Moscow: Moscow Art Theatre, 2007Google Scholar
Solovyova, Inna, Pervaya Studiya. Vtoroy MkhAT, Moscow: New Literary Review, 2016Google Scholar
Stroyeva, M. N., Rezhissyorskiye iskaniya Stanislavskogo 1898–1917, Moscow: Nauka, 1973Google Scholar
Stroyeva, M. N., Rezhissyorskiye iskaniya Stanislavskogo 1917–1938, Moscow: Nauka, 1977Google Scholar
Sulerzhitsky, Leopold Antonovich, Povesti i rasskazy. Stati i zametki. Perepiska. Vospominaniya o L. A. Sulerzhitskom, ed. Polyakova, Yelena, Moscow: Iskusstvo, 1970Google Scholar
Toporkov, V. O., Stanislavsky na repetitsii. Vospominaniya, Moscow: AST-Press SKD, 2002Google Scholar
Tovstonogov, G. A., O professii rezhissyora, St Petersburg: The Planet of MUSIC, 2017Google Scholar
Udaltsova, Z. P. (compiled and commented), Khudozhestvenny Teatr. Tvorcheskiye ponedelniki i drugiye dokumenty 1916–1919, Moscow: Moscow Art Theatre Press, 2006Google Scholar
Udaltsova, Z. P. (compiled and ed.), MXAT Vtoroy. Svidetelstva i dokumenty 1926–1936, Moscow: Moscow Art Theatre, 2011Google Scholar
Udaltsova, Zinaïda (ed.) and Kesler, E. A. (commentary), Gamlet na stsene MKhAT Vtorovo, Moscow: Moscow Art Theatre, 2017Google Scholar
Vakhtangov, Yevgeny, Yevgeny Vakhtangov. Dokumenty i svidetelstva, Vol. 1, ed. Ivanov, Vladislav, Moscow: Indrik, 2011Google Scholar
Vasilyev, Anatoly, in conversation with Zara Abdullayeva, Parautopia, Moscow: ABC design, 2016Google Scholar
Vinogradskaya, I. N., ‘O postanovkakh K. S. Stanislavskogo v obshchestve iskusstva i literatury’ in Teatralnoye naslediye. K. S. Stanislavsky. Materialy. Pisma. Issledovaniya, ed. Grabarya, I. E. et al., Moscow: Academy of Sciences of the USSR, 1955, 495–552Google Scholar
Vinogradskaya, I. N., ‘Vtoraya studiya Moskovskogo Khudozhestvennogo Teatra’ in Sovetsky teatr. Dokumenti i materialy 1917–1921, ed. Yufit, A. Z. et al., Leningrad: Iskusstvo, 1968, 384–9Google Scholar
Vinogradskaya, I. N., ‘Vtoraya Studiya Moskovskogo Khudozhestvennogo Akademicheskogo Teatra’ in Sovyetsky teatr 1921–1926, Dokumenti i materialy, ed. Trabsky, A. Ya., Leningrad: Iskusstvo, 1975, 182–7Google Scholar
Vinogradskaya, I. N., Zhizn i tvorchestvo K. S. Stanislavskogo. Letopis, 4 vols., Moscow: Moscow Art Theatre Press, 2003Google Scholar
Zatvornik, Feofan, Shto yest dukhovnaya zhizn i kak na neyo nastroyitsya?, Moscow: Otchy dom, 2006Google Scholar
Zolotinsky, D., Zori teatralnogo oktyabrya, Leningrad: Iskusstvo, 1976Google Scholar
Zon, B. V., ‘Vstrechi s K. S. Stanislavskim’ in Teatralnoye naslediye. K. S. Stanislavsky. Materialy. Pisma. Issledovaniya, ed. Grabarya, I. E. et al., Moscow: Academy of Sciences of the USSR, 1955, 449–91Google Scholar
Adler, Stella, The Technique of Acting, New York: Bantam Books, 1990Google Scholar
Bakhtin, Mikhaïl, Rabelais and His World, trans. Iswolsky, Hélène, Bloomington: Indiana University Press, 1984Google Scholar
Barba, Eugenio, in conversation with Shevtsova, Maria, ‘Reinventing Theatre’, New Theatre Quarterly, 23, No. 2 (2007), 99–114Google Scholar
Bartlett, Rosamund, Chekhov: Scenes from a Life, London: The Free Press, 2004Google Scholar
Bartoshevich, Alexei, ‘Theodore Komisarjevsky, Chekhov, and Shakespeare’ in Wandering Stars: Russian Emigré Theatre, 1905–1940, ed. Senelick, Laurence, Iowa City: University of Iowa Press, 1992, 102–15Google Scholar
Bartoshevich, Alexei, ‘The “Inevitability” of Chekhov: Anglo-Russian Theatrical Contacts in the 1910s’ in Chekhov on the British Stage, ed. and trans. Miles, Patrick, Cambridge University Press, 1993, 20–8Google Scholar
Benedetti, Jean, ‘A History of Stanislavski in Translation’, New Theatre Quarterly, 6, No. 23 (1990), 266–78Google Scholar
Benedetti, Jean (selected, ed. and trans.), The Moscow Art Theatre Letters, London: Methuen Drama, 1991Google Scholar
Benedetti, Jean, Stanislavski: His Life and Art, London: Methuen Drama, 1999Google Scholar
Boleslavsky, Richard, Acting: The First Six Lessons. Documents from the American Laboratory Theatre, ed. Blair, Rhonda, Abingdon and New York: Routledge, 2010Google Scholar
Borovsky, Victor, Chaliapin: A Critical Biography, London: Hamish Hamilton, 1998Google Scholar
Borovsky, Victor, A Triptych from the Russian Theatre: An Artistic Biography of the Komissarzhevskys, London: Hurst and Company, 2001Google Scholar
Bowlt, John E., Moscow and St Petersburg, 1900–1920: Art, Life and Culture of the Russian Silver Age, New York: The Vendome Press, 2008Google Scholar
Braun, Edward (trans. and ed.), Meyerhold on Theatre, London: Methuen Drama, 1969Google Scholar
Brecht, Bertolt, Brecht on Theatre: The Development of an Aesthetic, trans. and ed. Willett, John, London: Methuen, 1964Google Scholar
Brook, Peter, With Grotowski: Theatre Is Just a Form, ed. Banu, Georges et al., Wroclaw: The Grotowski Institute, 2009Google Scholar
Carnicke, Sharon Marie, Stanislavsky in Focus: An Acting Master for the Twenty-First Century, London and New York: Routledge, 2009Google Scholar
Chekhov, Michael, To the Actor, London and New York: Routledge, 2002Google Scholar
Chekhov, Michael, The Path of the Actor, ed. Kirillov, Andrei and Merlin, Bella, London and New York: Routledge, 2005Google Scholar
Clark, Katerina, Petersburg, Crucible of Cultural Revolution, Cambridge, MA: Harvard University Press, 1995Google Scholar
Clark, Katerina and Dobrenko, Evgeny with Artizov, Andrei and Naumov, Oleg, Soviet Culture and Power: A History in Documents, trans. Schwartz, Marian, New Haven and London: Yale University Press, 2007Google Scholar
Clurman, Harold, The Fervent Years: The Group Theatre and the Thirties, New York: Da Capo Press, 1983Google Scholar
Deak, Frantisec, ‘Blue Blouse: 1923–28’, The Drama Review, 17 (1972), 35–46Google Scholar
Edwards, Christine, The Stanislavsky Heritage, London: Peter Owen, 1966Google Scholar
Eliade, Mircea, The Sacred and the Profane: The Nature of Religion, trans. Trask, Willard R., New York and London: Harcourt Brace Jovanovich, 1959Google Scholar
Figes, Orlando, Natasha’s Dance: A Cultural History of Russia, London: Allen Lane, 2002Google Scholar
Fitzpatrick, Sheila, The Commissariat of Enlightenment: Soviet Organization of Education and the Arts under Lunacharsky, October 1917–1921, Cambridge University Press, 1970Google Scholar
Fitzpatrick, Sheila (ed.), Cultural Revolution in Russia, 1928–1931, Bloomington and London: Indiana University Press, 1978Google Scholar
Fitzpatrick, Sheila, The Cultural Front: The Proletkult in Revolutionary Russia, Ithaca and London: Cornell University Press, 1992CrossRefGoogle Scholar
Gillett, John, Acting Stanislavski: A Practical Guide to Stanislavski’s Approach and Legacy, London and New York: Bloomsbury Methuen Drama, 2014Google Scholar
Golub, Spencer, Evreinov: The Theatre of Paradox and Transformation, Ann Arbor: UMI Research Press, 1984Google Scholar
Gorchakov, Nikolai M., Stanislavsky Directs, trans. Goldina, Miriam, New York: Limelight Editions, 1985Google Scholar
Gordon, Mel, Stanislavsky in America, Abingdon: Routledge, 2010Google Scholar
Gray, Paul, ‘The Reality of Doing: Interviews with Vera Soloviova, Stella Adler, and Sanford Meisner’ in Stanislavski and America, ed. Munk, Erika, with an introduction by Richard Schechner, Greenwich, CT: Fawcett Publications, 1967, 201–18Google Scholar
Granville Barker, Harley, The Exemplary Theatre, London: Chatto and Windus, 1922Google Scholar
Grotowski, Jerzy, Towards a Poor Theatre, ed. Barba, Eugenio, Holstebro: Odin Teatret, 1984Google Scholar
Hall, Peter, interviewed by Miles, Patrick, ‘Chekhov, Shakespeare, the Ensemble and the Company’, New Theatre Quarterly, 11, No. 2 (1995), 203–10Google Scholar
Hosking, Geoffrey, Russia: People and Empire, 1552–1917, London: Fontana Press, 1998Google Scholar
Innes, Christopher and Shevtsova, Maria, The Cambridge Introduction to Theatre Directing, Cambridge University Press, 2013Google Scholar
Kogan, Sam, The Science of Acting, ed. Kogan, Helen, London and New York: Routledge, 2010Google Scholar
Komisarjevsky, Theodore, Myself and the Theatre, London: William Heinemann Limited, 1929Google Scholar
Krasner, David (ed.), Method Acting Reconsidered: Theory, Practice, Future, New York: St Martin’s Press, 2000Google Scholar
Krasner, David, ‘Stanislavsky’s System, Sense-Emotion Memory, and Physical Action/Active Analysis: American Interpretations of the System’s Legacy’ in The Routledge Companion to Stanislavsky, ed. White, R. Andrew, Abingdon and New York: Routledge, 2014, 195–213Google Scholar
Leach, Robert, Vsevolod Meyerhold, Cambridge University Press, 1989Google Scholar
Leach, Robert and Borovsky, Victor (eds.), A History of Russian Theatre, Cambridge University Press, 1999Google Scholar
Leyda, Jay, A History of the Russian and Soviet Film, Princeton: Princeton University Press, 1983Google Scholar
Lieven, Dominic, Towards the Flame: Empire, War and the End of Tsarist Russia, London: Allen Lane, 2015Google Scholar
Likhachev, Dmitry S., ‘Religion: Russian Orthodoxy’ in The Cambridge Companion to Modern Russian Culture, ed. Rzhevsky, Nicholas Cambridge University Press, 1998, 38–56Google Scholar
Magarshack, David, Stanislavsky: A Life, London: Faber and Faber, 1968Google Scholar
Malaev-Babel, Andrei, Yevgeny Vakhtangov: A Critical Portrait, Abingdon and New York: Routledge, 2013CrossRefGoogle Scholar
Malaev-Babel, Andrei and Laskina, Margarita (eds.), Nikolai Demidov: Becoming an Actor-Creator, trans. Malaev-Babel, Andrei with Rojavin, Alexander and Lillbridge, Sarah, London and New York: Routledge, 2016Google Scholar
Mally, Lynn, Culture of the Future: The Proletkult in Revolutionary Russia, Berkeley and Oxford: University of California Press, 1990Google Scholar
Maude, Aylmer, A Peculiar People: The Doukhobors, New York: Funk and Wagnalls Company, 1904Google Scholar
McDonald, Jan, ‘Chekhov, Naturalism and the Drama of Dissent: Productions of Chekhov’s Plays in Britain before 1914’ in Chekhov on the British Stage, ed. and trans. Miles, Patrick, Cambridge University Press, 1993, 29–42Google Scholar
Melik-Zakharov, Sergei and Bogatyrev, Shoel (compiled), K. Stanislavsky, 1863–1963: Man and Actor; Stanislavsky and the World Theatre; Stanislavsky’s Letters, trans. Schneierson, Vic, Moscow: Progress Publishers, 1963Google Scholar
Merlin, Bella, The Complete Stanislavsky Toolkit, London: Nick Hern Books, 2007Google Scholar
Merlin, Bella, ‘“Where’s the Spirit Gone?” The Complexities of Translation and the Nuances of Terminology in An Actor’s Work and an Actor’s Work’, Stanislavski Studies, 1 (2012), 43–86Google Scholar
Miles, Patrick (ed. and trans.), Chekhov on the British Stage, Cambridge University Press, 1993Google Scholar
Mitchell, Katie, The Director’s Craft: A Handbook for the Theatre, Abingdon and New York: Routledge, 2009Google Scholar
Nemirovich-Danchenko, Vladimir, My Life in the Russian Theatre, trans. Cournos, John, London: Geoffrey Bles, 1968Google Scholar
Pitches, Jonathan and Aquilina, Stefan, (eds.), Stanislavsky in the World: The System and Its Transformations across the Continents, Bloomsbury: London, 2017Google Scholar
Rudnitsky, Konstantin, Meyerhold, the Director, trans. Petrov, George, Ann Arbor: Ardis, 1981Google Scholar
Sayler, Oliver, The Russian Theatre under the Revolution, Boston: Little, Brown and Company, 1920Google Scholar
Schechner, Richard and Wolford, Lisa (eds.), The Grotowski Sourcebook, London and New York: Routledge, 1997Google Scholar
Scott, H. G. (ed.), Soviet Writers’ Congress 1934, no trans., London: Lawrence and Wishart, 1977Google Scholar
Senelick, Laurence, Gordon Craig’s Moscow Hamlet: A Reconstruction, Westport: Greenwood Press, 1982Google Scholar
Senelick, Laurence (ed.), Wandering Stars: Russian Emigré Theatre, 1905–1940, Iowa City: University of Iowa Press, 1992Google Scholar
Senelick, Laurence and Ostrovsky, Sergei (eds.), The Soviet Theatre: A Documentary History, New Haven and London: Yale University Press, 2014Google Scholar
Senelick, Laurence (selected, trans. and ed.), Stanislavsky – A Life in Letters, London and New York: Routledge, 2014Google Scholar
Senelick, Laurence, ‘The Accidental Evolution of the Moscow Art Theatre Group of Prague’, New Theatre Quarterly, 30, No. 118 (2014), 154–67Google Scholar
Shevtsova, Maria, The Theatre Practice of Anatoly Efros: A Contemporary Soviet Director, Devon: Theatre Papers no. 6, Dartington College of the Arts, 1978Google Scholar
Shevtsova, Maria, ‘Peter Brook Adapts The Tragedy of Carmen’, Théâtre International, 2, No. 10 (1983), 38–55Google Scholar
Shevtsova, Maria, ‘Dialogism in the Novel and Bakhtin’s Theory of Culture’, New Literary History, 23, No. 3 (1992), 747–63Google Scholar
Shevtsova, Maria, Dodin and the Maly Drama Theatre: Process to Performance, London and New York: Routledge, 2004Google Scholar
Shevtsova, Maria, Sociology of Theatre and Performance, Verona: QuiEdit, 2009Google Scholar
Shevtsova, Maria, in conversation with Anatoly Vasiliev, ‘Studio Theatre, Laboratory Theatre’, New Theatre Quarterly, 25, No. 100 (2009), 324–32Google Scholar
Shevtsova, Maria and Innes, Christopher, Directors/Directing: Conversations on Theatre, Cambridge University Press, 2009Google Scholar
Shevtsova, Maria, ‘Book Review of My Life in Art and An Actor’s Work’, TDR, 54, No. 205 (2010), 172–4Google Scholar
Shevtsova, Maria, ‘Stanislavsky to Grotowski: Actor to Performer/Doer’, New Theatre Quarterly, 30, No. 120 (2014), 333–40Google Scholar
Shevtsova, Maria, ‘Alive, Kicking – and Kicking Back: Russia’s Golden Mask Festival 2015’, New Theatre Quarterly, 31, No. 123 (2015), 232–40Google Scholar
Shevtsova, Maria, ‘Revolutions Remembered: The Golden Mask in Moscow 2017’, New Theatre Quarterly, 33, No. 131 (2017), 288–98Google Scholar
Smeliansky, Anatoly, Is Comrade Bulgakov Dead? Mikhaïl Bulgakov at the Moscow Art Theatre, trans. Tait, Arch, London: Methuen Drama, 1993Google Scholar
Stanislavsky, K. S., ‘Direction and Acting’ in Encyclopaedia Britannica, Vol. 22, London: Encyclopaedia Britannica, 1929–32, 35–8Google Scholar
Stanislavsky, Konstantin, Stanislavsky: On the Art of the Stage, trans. Magarshack, David, London: Faber and Faber, 1950Google Scholar
Stanislavski, Constantin (sic) and Rumyantsev, Pavel, Stanislavski on Opera, trans. and ed. Hapgood, Elizabeth, New York and London: Routledge, A Theatre Arts Book, 1998Google Scholar
Stanislavsky, Konstantin, My Life in Art, trans. and ed. Benedetti, Jean, London and New York: Routledge, 2008Google Scholar
Stanislavsky, Konstantin, An Actor’s Work: A Student’s Diary, trans. and ed. Benedetti, Jean, London and New York: Routledge, 2008Google Scholar
Stanislavsky, Konstantin, An Actor’s Work on a Role, trans. and ed. Benedetti, Jean, London and New York: Routledge, 2009Google Scholar
Strasberg, Lee, A Dream of Passion: The Development of the Method, ed. Morphos, Evangeline, London: Bloomsbury, 1988Google Scholar
Sulerzhitsky, Leopold Antonovich, To America with the Doukhobors, trans. Kalmakoff, Michael and introduction by Mealing, Mark, Regina: Canadian Plains Research Centre, University of Regina, 1982Google Scholar
Tcherkasski, Sergei, Stanislavsky and Yoga, trans. Farber, Vreneli, Abingdon: Routledge Icarus Publishing Enterprise, 2016Google Scholar
Thomas, James, A Director’s Guide to Stanislavsky’s Active Analysis, London and New York: Bloomsbury Methuen Drama, 2016Google Scholar
Tolstoy, Sofia, The Diaries of Sofia Tolstoy, trans. Porter, Cathy, Surrey: Alma Books, 2009Google Scholar
Toporkov, Vasily, Stanislavsky in Rehearsal: The Final Years, trans. Edwards, Christine, New York and London: Routledge, A Theatre Arts Book, 1998Google Scholar
Trotsky, Leon, Literature and Revolution, trans. Strunsky, Rose, Ann Arbor: University of Michigan Press, 1960Google Scholar
White, R. Andrew (ed.), The Routledge Companion to Stanislavsky, Abingdon and New York: Routledge, 2014Google Scholar
Whyman, Rose, The Stanislavsky System of Acting: Legacy and Influence in Modern Performance, Cambridge University Press, 2008Google Scholar
Worrall, Nick, The Moscow Art Theatre, London and New York: Routledge, 1996Google Scholar
Autant-Mathieu, Marie-Christine (ed.), Le Théâtre d’Art de Moscou: Ramifications, voyages, Paris: CNRS Editions, 2005Google Scholar
Bourdieu, Pierre, Le Sens pratique, Paris: Le Seuil, 1980Google Scholar
Bourdieu, Pierre, Méditations pascaliennes, Paris: Le Seuil, 1997Google Scholar
Dréville, Valéry, Face à Médée: Journal de répétition, Paris: Actes Sud-Papiers, 2018Google Scholar
Dusigne, François, Le Théâtre d’Art: Aventure européenne du xxième siècle, Paris: Editions THEATRALES, 1997Google Scholar
Jörder, Gerhard, Ostermeier Backstage, trans. Muhleisen, Laurent and Weigand, Frank, Paris: L’Arche, 2015 [interview with Ostermeier]Google Scholar
Mojenok-Ninin, Tatiana, Vassili Polenov: Chevalier de la beauté, Rouen: Editions points de vue, Association Vassili Polenov, 2013Google Scholar
Ostermeier, Thomas, Le Théâtre et la peur, trans. Pelechová, Jitka Goriaux, Paris: Actes Sud, 2016Google Scholar
Poliakov, Stéphane, Anatoli Vassiliev: L’Art de la composition, Paris: Actes Sud-Papiers, 2006Google Scholar
Vassiliev, Anatoli, Sept ou huit leçons de théâtre, trans. Néron, Martine, Paris: P.O.L., 1999Google Scholar
Attisani, Antonio and Biagini, Mario (eds.), Opere e sentieri: Jerzy Grotowski Testi 1968–1998, Rome: Bulzoni Editore, 2007Google Scholar
Attisani, Antonio and Biagini, Mario (eds.), Opere e sentieri: Testimonianze e riflessioni sull’arte come veicolo, Rome: Bulzoni Editore, 2008Google Scholar
Giorgio, Strehler, Per un teatro umano, ed. Kessler, Sinah, Milan: Feltrinelli, 1974Google Scholar
Kosinski, Dariusz, Grotowski: Przewodnik, Wroclaw: The Grotowski Institute, 2009Google Scholar
Teksty zebrane: Grotowski, ed. Adamieck-Sitek, Agata et al., Wroclaw and Warsaw: The Grotowski Institute, The Zbigniew Raszewski Theatre Institute and The Political Critique Publishing House, 2017Google Scholar
Balukhaty, S. D., Chayka v postanovke Moskovskovo Khudozhestvennogo Teatra, Rezhisserskaya partitura K. S. Stanislavskogo, Leningrad: Iskusstvo, 1938Google Scholar
Birman, Serafima, Put aktrisi, Moscow: All-Russian Theatre Society, 1959Google Scholar
Bolshaya Sovetskaya Entsiklopediya, Moscow: State Scientific Press, 1956Google Scholar
Brodskaya, G., Alekseyev-Stanislavsky, Chekhov i drugiye. Vishnyovosadnaya epopeya, Moscow: Agraph, 2000Google Scholar
Bryusov, Valery, ‘Realism i uslovnost na stsenye’ in Teatr. Kniga o novom teatre, Moscow: GITIS, 2008, 202–14Google Scholar
Chekhov, Mikhaïl, Literaturnoye naslediye, ed. Knebel, Maria et al., 2 vols., Moscow: Iskusstvo, 1995Google Scholar
Chepurov, A. A., Aleksandrinskaya Chayka, St Petersburg: Aleksandrinsky Theatre Library, 2002.Google Scholar
Cherkassky, Sergey, Masterstvo aktyora: Stanislavsky, Boleslavsky, Strasberg, St Petersburg: Russian State Institute of Scenic Arts, 2016Google Scholar
Dodin, Lev, Puteshestviye bez kontsa. Pogruzheniye v miry Chekhova, St Petersburg: Baltic Seasons, 2010Google Scholar
Dodin, Lev, Puteshestviye bez kontsa. Pogruzheniye v miry Tri sestry, St Petersburg: Baltic Seasons, 2011Google Scholar
Dodin, Lev, Puteshestviye bez kontsa. Pogruzheniye v miry Vishnyovy sad, St Petersburg: Baltic Seasons, 2016Google Scholar
Efros, Nikolay, Moskovsky Khudozhestvenny Teatr 1898–1923, Moscow and St Petersburg: State Publishing House, 1924Google Scholar
Evreinov, Nikolay, Teatralizatsiya zhizni, Moscow: Vremya, 1922Google Scholar
Feldman, Oleg (documents compiled and ed.), Meyerhkolda naslediye, Vol. 3, Moscow: Novoye Izdatelstvo, 2010Google Scholar
Galendeyev, Valery, Ucheniye K. S. Stanislavskogo o stsenicheskom slove, N. K. Cherkasov Leningrad State Institute of Theatre, Music and Film, 1990Google Scholar
Giatsintova, Sofya, C pamyatyu nayedinye, Moscow: Iskusstvo, 1989Google Scholar
Gladkov, Aleksandr, Teatr. Vospominaniya i razmyshleniya, Moscow: Iskusstvo, 1980Google Scholar
Gorchakov, N., Rezhissyorskiye uroki Stanislavskogo, Moscow: Iskusstvo, 1952Google Scholar
Kalashnikov, Yu. (ed.), Stanislavsky, reformator opernogo iskusstva: Materialy, Dokumenty, Moscow: Musyka, 1988Google Scholar
Kalugina, O. V., Skulptor Anna Golubkina, Moscow: ‘Galart’ Publisher, 2006Google Scholar
Klimenko, L. A., ‘Chetvyortaya studiya MKhATa – Moskovsky Gosudarstvenny Teatr Chetvyortaya Studiya’ in Sovyetsky teatr 1921–1926. Dokumenti i materialy, ed. Trabsky, A. Ya., Leningrad: Iskusstvo, 1975, 188–228Google Scholar
Knebel, Maria, Slovo v tvorchestve aktyora, Moscow: Iskusstvo, 1954Google Scholar
Knebel, Maria, Vsya zhizn, Moscow: All-Russian Theatre Society, 1967Google Scholar
Knebel, Maria, O deystvennom analize pyesi i roli, Moscow: GITIS, 2014Google Scholar
Knipper-Chekhova, Olga Leonardovna, Chast pervaya. Vospominaniya i stati. Perepiska s A. P. Chekhovym (1902–1904), Part I, Moscow: Iskusstvo, 1972Google Scholar
Komissarzhevsky, F. F., Tvorchestvo aktyora i teoriya Stanislavskogo, Petrograd (n.p.), 1917Google Scholar
Krechetova, Rima, Stanislavsky, Moscow: The Young Guard, 2013Google Scholar
Kristi, G., Rabota Stanislavskogo v opernom teatre, Moscow: Iskusstvo, 1952Google Scholar
Markov, P. A., Moskovsky Khudozhestvenny Teatr Vtoroy, Moscow: Moscow Art Theatre, 1925Google Scholar
Meyerhold, V. E., Stati. Pisma. Rechi. Besedy, 2 vols., Moscow: Iskusstvo, 1968Google Scholar
Mikhalsky, F. N. and Kapitaykin, E. S., ‘Pervaya Studiya’ in Sovyetsky teatr 1921–1926. Dokumenti i materialy, ed. Trabsky, A. Ya., Leningrad: Iskusstvo, 1975, 160–87Google Scholar
Nemirovich-Danchenko, Vladimir, Iz Proshlogo, Moscow: Moy20vek, 2003Google Scholar
Novitskaya, L. N., Uroki vdokhnoveniya. Sistema K. S. Stanislavskogo v deystviye, Moscow: All-Russian Theatre Society, 1984Google Scholar
Paston, Eleonora, Abramtsevo. Iskusstvo i zhizn, Moscow: Iskusstvo, 2003Google Scholar
Polkanova, Maria (compiled and ed.), I vnov o Khudozhetsvennom. MXAT v vospominaniyakh i zapisyakh 1901–1920, Moscow: Avantitul, 2004Google Scholar
Polyakova, Yelena, Stanislavsky, Moscow: Iskusstvo, 1977Google Scholar
Polyakova, Yelena, Teatr Sulerzhitskogo. Etika. Estetika. Rezhissura, Moscow: Agraf, 2006Google Scholar
Radishcheva, O. A., Stanislavsky i Nemirovich-Danchenko. Istoriya teatralnykh otnosheny. 1897–1908, Moscow: Artist. Director. Theatre, 1997Google Scholar
Radishcheva, O. A., Stanislavsky i Nemirovich-Danchenko. Istoriya teatralnykh otnosheny. 1909–1917, Moscow: Artist. Director. Theatre, 1999Google Scholar
Radishcheva, O. A., Stanislavsky i Nemirovich-Danchenko. Istoriya teatralnykh otnosheny. 1917–1938, Moscow: Artist. Director. Theatre, 1999Google Scholar
Radishcheva, O. A. and Shingaryova, E. A. (eds.) (Vol. 1 with Yu. Vinogradova, M.), Moskovsky Khudozhestvenny Teatr v russkoy teatralnoy kritike 1898–1943, 4 vols., Moscow: Artist. Director. Theatre, 2005–10Google Scholar
Rudnitsky, K. L., Russkoye rezhissyorskoye iskusstvo 1898–1917, Moscow: GITIS, 2014Google Scholar
Rumyantsev, P. I., Stanislavsky i opera, Moscow: Iskusstvo, 1969Google Scholar
Smeliansky, A., Mikhaïl Bulgakov v Khudozhestvennom Teatre, Moscow: Iskusstvo, 1986Google Scholar
Smyshlyayev, Valentin, Teoriya obrobotki stsenicheskogo zrelishcha, Izhevsk: Proletkult Publication, 1921Google Scholar
Sobolevskaya, O. C., K. S. Stanislavsky rabotayet, beseduyet, otdykhayet, Moscow: STD, 1988Google Scholar
Solovyova, Inna, Khudozhestvenny Teatr. Zhizn i priklyucheniye ideyi, Moscow: Moscow Art Theatre, 2007Google Scholar
Solovyova, Inna, Pervaya Studiya. Vtoroy MkhAT, Moscow: New Literary Review, 2016Google Scholar
Stroyeva, M. N., Rezhissyorskiye iskaniya Stanislavskogo 1898–1917, Moscow: Nauka, 1973Google Scholar
Stroyeva, M. N., Rezhissyorskiye iskaniya Stanislavskogo 1917–1938, Moscow: Nauka, 1977Google Scholar
Sulerzhitsky, Leopold Antonovich, Povesti i rasskazy. Stati i zametki. Perepiska. Vospominaniya o L. A. Sulerzhitskom, ed. Polyakova, Yelena, Moscow: Iskusstvo, 1970Google Scholar
Toporkov, V. O., Stanislavsky na repetitsii. Vospominaniya, Moscow: AST-Press SKD, 2002Google Scholar
Tovstonogov, G. A., O professii rezhissyora, St Petersburg: The Planet of MUSIC, 2017Google Scholar
Udaltsova, Z. P. (compiled and commented), Khudozhestvenny Teatr. Tvorcheskiye ponedelniki i drugiye dokumenty 1916–1919, Moscow: Moscow Art Theatre Press, 2006Google Scholar
Udaltsova, Z. P. (compiled and ed.), MXAT Vtoroy. Svidetelstva i dokumenty 1926–1936, Moscow: Moscow Art Theatre, 2011Google Scholar
Udaltsova, Zinaïda (ed.) and Kesler, E. A. (commentary), Gamlet na stsene MKhAT Vtorovo, Moscow: Moscow Art Theatre, 2017Google Scholar
Vakhtangov, Yevgeny, Yevgeny Vakhtangov. Dokumenty i svidetelstva, Vol. 1, ed. Ivanov, Vladislav, Moscow: Indrik, 2011Google Scholar
Vasilyev, Anatoly, in conversation with Zara Abdullayeva, Parautopia, Moscow: ABC design, 2016Google Scholar
Vinogradskaya, I. N., ‘O postanovkakh K. S. Stanislavskogo v obshchestve iskusstva i literatury’ in Teatralnoye naslediye. K. S. Stanislavsky. Materialy. Pisma. Issledovaniya, ed. Grabarya, I. E. et al., Moscow: Academy of Sciences of the USSR, 1955, 495–552Google Scholar
Vinogradskaya, I. N., ‘Vtoraya studiya Moskovskogo Khudozhestvennogo Teatra’ in Sovetsky teatr. Dokumenti i materialy 1917–1921, ed. Yufit, A. Z. et al., Leningrad: Iskusstvo, 1968, 384–9Google Scholar
Vinogradskaya, I. N., ‘Vtoraya Studiya Moskovskogo Khudozhestvennogo Akademicheskogo Teatra’ in Sovyetsky teatr 1921–1926, Dokumenti i materialy, ed. Trabsky, A. Ya., Leningrad: Iskusstvo, 1975, 182–7Google Scholar
Vinogradskaya, I. N., Zhizn i tvorchestvo K. S. Stanislavskogo. Letopis, 4 vols., Moscow: Moscow Art Theatre Press, 2003Google Scholar
Zatvornik, Feofan, Shto yest dukhovnaya zhizn i kak na neyo nastroyitsya?, Moscow: Otchy dom, 2006Google Scholar
Zolotinsky, D., Zori teatralnogo oktyabrya, Leningrad: Iskusstvo, 1976Google Scholar
Zon, B. V., ‘Vstrechi s K. S. Stanislavskim’ in Teatralnoye naslediye. K. S. Stanislavsky. Materialy. Pisma. Issledovaniya, ed. Grabarya, I. E. et al., Moscow: Academy of Sciences of the USSR, 1955, 449–91Google Scholar
Adler, Stella, The Technique of Acting, New York: Bantam Books, 1990Google Scholar
Bakhtin, Mikhaïl, Rabelais and His World, trans. Iswolsky, Hélène, Bloomington: Indiana University Press, 1984Google Scholar
Barba, Eugenio, in conversation with Shevtsova, Maria, ‘Reinventing Theatre’, New Theatre Quarterly, 23, No. 2 (2007), 99–114Google Scholar
Bartlett, Rosamund, Chekhov: Scenes from a Life, London: The Free Press, 2004Google Scholar
Bartoshevich, Alexei, ‘Theodore Komisarjevsky, Chekhov, and Shakespeare’ in Wandering Stars: Russian Emigré Theatre, 1905–1940, ed. Senelick, Laurence, Iowa City: University of Iowa Press, 1992, 102–15Google Scholar
Bartoshevich, Alexei, ‘The “Inevitability” of Chekhov: Anglo-Russian Theatrical Contacts in the 1910s’ in Chekhov on the British Stage, ed. and trans. Miles, Patrick, Cambridge University Press, 1993, 20–8Google Scholar
Benedetti, Jean, ‘A History of Stanislavski in Translation’, New Theatre Quarterly, 6, No. 23 (1990), 266–78Google Scholar
Benedetti, Jean (selected, ed. and trans.), The Moscow Art Theatre Letters, London: Methuen Drama, 1991Google Scholar
Benedetti, Jean, Stanislavski: His Life and Art, London: Methuen Drama, 1999Google Scholar
Boleslavsky, Richard, Acting: The First Six Lessons. Documents from the American Laboratory Theatre, ed. Blair, Rhonda, Abingdon and New York: Routledge, 2010Google Scholar
Borovsky, Victor, Chaliapin: A Critical Biography, London: Hamish Hamilton, 1998Google Scholar
Borovsky, Victor, A Triptych from the Russian Theatre: An Artistic Biography of the Komissarzhevskys, London: Hurst and Company, 2001Google Scholar
Bowlt, John E., Moscow and St Petersburg, 1900–1920: Art, Life and Culture of the Russian Silver Age, New York: The Vendome Press, 2008Google Scholar
Braun, Edward (trans. and ed.), Meyerhold on Theatre, London: Methuen Drama, 1969Google Scholar
Brecht, Bertolt, Brecht on Theatre: The Development of an Aesthetic, trans. and ed. Willett, John, London: Methuen, 1964Google Scholar
Brook, Peter, With Grotowski: Theatre Is Just a Form, ed. Banu, Georges et al., Wroclaw: The Grotowski Institute, 2009Google Scholar
Carnicke, Sharon Marie, Stanislavsky in Focus: An Acting Master for the Twenty-First Century, London and New York: Routledge, 2009Google Scholar
Chekhov, Michael, To the Actor, London and New York: Routledge, 2002Google Scholar
Chekhov, Michael, The Path of the Actor, ed. Kirillov, Andrei and Merlin, Bella, London and New York: Routledge, 2005Google Scholar
Clark, Katerina, Petersburg, Crucible of Cultural Revolution, Cambridge, MA: Harvard University Press, 1995Google Scholar
Clark, Katerina and Dobrenko, Evgeny with Artizov, Andrei and Naumov, Oleg, Soviet Culture and Power: A History in Documents, trans. Schwartz, Marian, New Haven and London: Yale University Press, 2007Google Scholar
Clurman, Harold, The Fervent Years: The Group Theatre and the Thirties, New York: Da Capo Press, 1983Google Scholar
Deak, Frantisec, ‘Blue Blouse: 1923–28’, The Drama Review, 17 (1972), 35–46Google Scholar
Edwards, Christine, The Stanislavsky Heritage, London: Peter Owen, 1966Google Scholar
Eliade, Mircea, The Sacred and the Profane: The Nature of Religion, trans. Trask, Willard R., New York and London: Harcourt Brace Jovanovich, 1959Google Scholar
Figes, Orlando, Natasha’s Dance: A Cultural History of Russia, London: Allen Lane, 2002Google Scholar
Fitzpatrick, Sheila, The Commissariat of Enlightenment: Soviet Organization of Education and the Arts under Lunacharsky, October 1917–1921, Cambridge University Press, 1970Google Scholar
Fitzpatrick, Sheila (ed.), Cultural Revolution in Russia, 1928–1931, Bloomington and London: Indiana University Press, 1978Google Scholar
Fitzpatrick, Sheila, The Cultural Front: The Proletkult in Revolutionary Russia, Ithaca and London: Cornell University Press, 1992CrossRefGoogle Scholar
Gillett, John, Acting Stanislavski: A Practical Guide to Stanislavski’s Approach and Legacy, London and New York: Bloomsbury Methuen Drama, 2014Google Scholar
Golub, Spencer, Evreinov: The Theatre of Paradox and Transformation, Ann Arbor: UMI Research Press, 1984Google Scholar
Gorchakov, Nikolai M., Stanislavsky Directs, trans. Goldina, Miriam, New York: Limelight Editions, 1985Google Scholar
Gordon, Mel, Stanislavsky in America, Abingdon: Routledge, 2010Google Scholar
Gray, Paul, ‘The Reality of Doing: Interviews with Vera Soloviova, Stella Adler, and Sanford Meisner’ in Stanislavski and America, ed. Munk, Erika, with an introduction by Richard Schechner, Greenwich, CT: Fawcett Publications, 1967, 201–18Google Scholar
Granville Barker, Harley, The Exemplary Theatre, London: Chatto and Windus, 1922Google Scholar
Grotowski, Jerzy, Towards a Poor Theatre, ed. Barba, Eugenio, Holstebro: Odin Teatret, 1984Google Scholar
Hall, Peter, interviewed by Miles, Patrick, ‘Chekhov, Shakespeare, the Ensemble and the Company’, New Theatre Quarterly, 11, No. 2 (1995), 203–10Google Scholar
Hosking, Geoffrey, Russia: People and Empire, 1552–1917, London: Fontana Press, 1998Google Scholar
Innes, Christopher and Shevtsova, Maria, The Cambridge Introduction to Theatre Directing, Cambridge University Press, 2013Google Scholar
Kogan, Sam, The Science of Acting, ed. Kogan, Helen, London and New York: Routledge, 2010Google Scholar
Komisarjevsky, Theodore, Myself and the Theatre, London: William Heinemann Limited, 1929Google Scholar
Krasner, David (ed.), Method Acting Reconsidered: Theory, Practice, Future, New York: St Martin’s Press, 2000Google Scholar
Krasner, David, ‘Stanislavsky’s System, Sense-Emotion Memory, and Physical Action/Active Analysis: American Interpretations of the System’s Legacy’ in The Routledge Companion to Stanislavsky, ed. White, R. Andrew, Abingdon and New York: Routledge, 2014, 195–213Google Scholar
Leach, Robert, Vsevolod Meyerhold, Cambridge University Press, 1989Google Scholar
Leach, Robert and Borovsky, Victor (eds.), A History of Russian Theatre, Cambridge University Press, 1999Google Scholar
Leyda, Jay, A History of the Russian and Soviet Film, Princeton: Princeton University Press, 1983Google Scholar
Lieven, Dominic, Towards the Flame: Empire, War and the End of Tsarist Russia, London: Allen Lane, 2015Google Scholar
Likhachev, Dmitry S., ‘Religion: Russian Orthodoxy’ in The Cambridge Companion to Modern Russian Culture, ed. Rzhevsky, Nicholas Cambridge University Press, 1998, 38–56Google Scholar
Magarshack, David, Stanislavsky: A Life, London: Faber and Faber, 1968Google Scholar
Malaev-Babel, Andrei, Yevgeny Vakhtangov: A Critical Portrait, Abingdon and New York: Routledge, 2013CrossRefGoogle Scholar
Malaev-Babel, Andrei and Laskina, Margarita (eds.), Nikolai Demidov: Becoming an Actor-Creator, trans. Malaev-Babel, Andrei with Rojavin, Alexander and Lillbridge, Sarah, London and New York: Routledge, 2016Google Scholar
Mally, Lynn, Culture of the Future: The Proletkult in Revolutionary Russia, Berkeley and Oxford: University of California Press, 1990Google Scholar
Maude, Aylmer, A Peculiar People: The Doukhobors, New York: Funk and Wagnalls Company, 1904Google Scholar
McDonald, Jan, ‘Chekhov, Naturalism and the Drama of Dissent: Productions of Chekhov’s Plays in Britain before 1914’ in Chekhov on the British Stage, ed. and trans. Miles, Patrick, Cambridge University Press, 1993, 29–42Google Scholar
Melik-Zakharov, Sergei and Bogatyrev, Shoel (compiled), K. Stanislavsky, 1863–1963: Man and Actor; Stanislavsky and the World Theatre; Stanislavsky’s Letters, trans. Schneierson, Vic, Moscow: Progress Publishers, 1963Google Scholar
Merlin, Bella, The Complete Stanislavsky Toolkit, London: Nick Hern Books, 2007Google Scholar
Merlin, Bella, ‘“Where’s the Spirit Gone?” The Complexities of Translation and the Nuances of Terminology in An Actor’s Work and an Actor’s Work’, Stanislavski Studies, 1 (2012), 43–86Google Scholar
Miles, Patrick (ed. and trans.), Chekhov on the British Stage, Cambridge University Press, 1993Google Scholar
Mitchell, Katie, The Director’s Craft: A Handbook for the Theatre, Abingdon and New York: Routledge, 2009Google Scholar
Nemirovich-Danchenko, Vladimir, My Life in the Russian Theatre, trans. Cournos, John, London: Geoffrey Bles, 1968Google Scholar
Pitches, Jonathan and Aquilina, Stefan, (eds.), Stanislavsky in the World: The System and Its Transformations across the Continents, Bloomsbury: London, 2017Google Scholar
Rudnitsky, Konstantin, Meyerhold, the Director, trans. Petrov, George, Ann Arbor: Ardis, 1981Google Scholar
Sayler, Oliver, The Russian Theatre under the Revolution, Boston: Little, Brown and Company, 1920Google Scholar
Schechner, Richard and Wolford, Lisa (eds.), The Grotowski Sourcebook, London and New York: Routledge, 1997Google Scholar
Scott, H. G. (ed.), Soviet Writers’ Congress 1934, no trans., London: Lawrence and Wishart, 1977Google Scholar
Senelick, Laurence, Gordon Craig’s Moscow Hamlet: A Reconstruction, Westport: Greenwood Press, 1982Google Scholar
Senelick, Laurence (ed.), Wandering Stars: Russian Emigré Theatre, 1905–1940, Iowa City: University of Iowa Press, 1992Google Scholar
Senelick, Laurence and Ostrovsky, Sergei (eds.), The Soviet Theatre: A Documentary History, New Haven and London: Yale University Press, 2014Google Scholar
Senelick, Laurence (selected, trans. and ed.), Stanislavsky – A Life in Letters, London and New York: Routledge, 2014Google Scholar
Senelick, Laurence, ‘The Accidental Evolution of the Moscow Art Theatre Group of Prague’, New Theatre Quarterly, 30, No. 118 (2014), 154–67Google Scholar
Shevtsova, Maria, The Theatre Practice of Anatoly Efros: A Contemporary Soviet Director, Devon: Theatre Papers no. 6, Dartington College of the Arts, 1978Google Scholar
Shevtsova, Maria, ‘Peter Brook Adapts The Tragedy of Carmen’, Théâtre International, 2, No. 10 (1983), 38–55Google Scholar
Shevtsova, Maria, ‘Dialogism in the Novel and Bakhtin’s Theory of Culture’, New Literary History, 23, No. 3 (1992), 747–63Google Scholar
Shevtsova, Maria, Dodin and the Maly Drama Theatre: Process to Performance, London and New York: Routledge, 2004Google Scholar
Shevtsova, Maria, Sociology of Theatre and Performance, Verona: QuiEdit, 2009Google Scholar
Shevtsova, Maria, in conversation with Anatoly Vasiliev, ‘Studio Theatre, Laboratory Theatre’, New Theatre Quarterly, 25, No. 100 (2009), 324–32Google Scholar
Shevtsova, Maria and Innes, Christopher, Directors/Directing: Conversations on Theatre, Cambridge University Press, 2009Google Scholar
Shevtsova, Maria, ‘Book Review of My Life in Art and An Actor’s Work’, TDR, 54, No. 205 (2010), 172–4Google Scholar
Shevtsova, Maria, ‘Stanislavsky to Grotowski: Actor to Performer/Doer’, New Theatre Quarterly, 30, No. 120 (2014), 333–40Google Scholar
Shevtsova, Maria, ‘Alive, Kicking – and Kicking Back: Russia’s Golden Mask Festival 2015’, New Theatre Quarterly, 31, No. 123 (2015), 232–40Google Scholar
Shevtsova, Maria, ‘Revolutions Remembered: The Golden Mask in Moscow 2017’, New Theatre Quarterly, 33, No. 131 (2017), 288–98Google Scholar
Smeliansky, Anatoly, Is Comrade Bulgakov Dead? Mikhaïl Bulgakov at the Moscow Art Theatre, trans. Tait, Arch, London: Methuen Drama, 1993Google Scholar
Stanislavsky, K. S., ‘Direction and Acting’ in Encyclopaedia Britannica, Vol. 22, London: Encyclopaedia Britannica, 1929–32, 35–8Google Scholar
Stanislavsky, Konstantin, Stanislavsky: On the Art of the Stage, trans. Magarshack, David, London: Faber and Faber, 1950Google Scholar
Stanislavski, Constantin (sic) and Rumyantsev, Pavel, Stanislavski on Opera, trans. and ed. Hapgood, Elizabeth, New York and London: Routledge, A Theatre Arts Book, 1998Google Scholar
Stanislavsky, Konstantin, My Life in Art, trans. and ed. Benedetti, Jean, London and New York: Routledge, 2008Google Scholar
Stanislavsky, Konstantin, An Actor’s Work: A Student’s Diary, trans. and ed. Benedetti, Jean, London and New York: Routledge, 2008Google Scholar
Stanislavsky, Konstantin, An Actor’s Work on a Role, trans. and ed. Benedetti, Jean, London and New York: Routledge, 2009Google Scholar
Strasberg, Lee, A Dream of Passion: The Development of the Method, ed. Morphos, Evangeline, London: Bloomsbury, 1988Google Scholar
Sulerzhitsky, Leopold Antonovich, To America with the Doukhobors, trans. Kalmakoff, Michael and introduction by Mealing, Mark, Regina: Canadian Plains Research Centre, University of Regina, 1982Google Scholar
Tcherkasski, Sergei, Stanislavsky and Yoga, trans. Farber, Vreneli, Abingdon: Routledge Icarus Publishing Enterprise, 2016Google Scholar
Thomas, James, A Director’s Guide to Stanislavsky’s Active Analysis, London and New York: Bloomsbury Methuen Drama, 2016Google Scholar
Tolstoy, Sofia, The Diaries of Sofia Tolstoy, trans. Porter, Cathy, Surrey: Alma Books, 2009Google Scholar
Toporkov, Vasily, Stanislavsky in Rehearsal: The Final Years, trans. Edwards, Christine, New York and London: Routledge, A Theatre Arts Book, 1998Google Scholar
Trotsky, Leon, Literature and Revolution, trans. Strunsky, Rose, Ann Arbor: University of Michigan Press, 1960Google Scholar
White, R. Andrew (ed.), The Routledge Companion to Stanislavsky, Abingdon and New York: Routledge, 2014Google Scholar
Whyman, Rose, The Stanislavsky System of Acting: Legacy and Influence in Modern Performance, Cambridge University Press, 2008Google Scholar
Worrall, Nick, The Moscow Art Theatre, London and New York: Routledge, 1996Google Scholar
Autant-Mathieu, Marie-Christine (ed.), Le Théâtre d’Art de Moscou: Ramifications, voyages, Paris: CNRS Editions, 2005Google Scholar
Bourdieu, Pierre, Le Sens pratique, Paris: Le Seuil, 1980Google Scholar
Bourdieu, Pierre, Méditations pascaliennes, Paris: Le Seuil, 1997Google Scholar
Dréville, Valéry, Face à Médée: Journal de répétition, Paris: Actes Sud-Papiers, 2018Google Scholar
Dusigne, François, Le Théâtre d’Art: Aventure européenne du xxième siècle, Paris: Editions THEATRALES, 1997Google Scholar
Jörder, Gerhard, Ostermeier Backstage, trans. Muhleisen, Laurent and Weigand, Frank, Paris: L’Arche, 2015 [interview with Ostermeier]Google Scholar
Mojenok-Ninin, Tatiana, Vassili Polenov: Chevalier de la beauté, Rouen: Editions points de vue, Association Vassili Polenov, 2013Google Scholar
Ostermeier, Thomas, Le Théâtre et la peur, trans. Pelechová, Jitka Goriaux, Paris: Actes Sud, 2016Google Scholar
Poliakov, Stéphane, Anatoli Vassiliev: L’Art de la composition, Paris: Actes Sud-Papiers, 2006Google Scholar
Vassiliev, Anatoli, Sept ou huit leçons de théâtre, trans. Néron, Martine, Paris: P.O.L., 1999Google Scholar
Attisani, Antonio and Biagini, Mario (eds.), Opere e sentieri: Jerzy Grotowski Testi 1968–1998, Rome: Bulzoni Editore, 2007Google Scholar
Attisani, Antonio and Biagini, Mario (eds.), Opere e sentieri: Testimonianze e riflessioni sull’arte come veicolo, Rome: Bulzoni Editore, 2008Google Scholar
Giorgio, Strehler, Per un teatro umano, ed. Kessler, Sinah, Milan: Feltrinelli, 1974Google Scholar
Kosinski, Dariusz, Grotowski: Przewodnik, Wroclaw: The Grotowski Institute, 2009Google Scholar
Teksty zebrane: Grotowski, ed. Adamieck-Sitek, Agata et al., Wroclaw and Warsaw: The Grotowski Institute, The Zbigniew Raszewski Theatre Institute and The Political Critique Publishing House, 2017Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Maria Shevtsova, Goldsmiths, University of London
  • Book: Rediscovering Stanislavsky
  • Online publication: 12 November 2019
  • Chapter DOI: https://doi.org/10.1017/9781139151092.008
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Maria Shevtsova, Goldsmiths, University of London
  • Book: Rediscovering Stanislavsky
  • Online publication: 12 November 2019
  • Chapter DOI: https://doi.org/10.1017/9781139151092.008
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Maria Shevtsova, Goldsmiths, University of London
  • Book: Rediscovering Stanislavsky
  • Online publication: 12 November 2019
  • Chapter DOI: https://doi.org/10.1017/9781139151092.008
Available formats
×