Abstract
This paper offers a study of the theatrical context of Boris Pasternak’s unfinished play Blind Beauty (Slepaia Krasavitsa, 1959–1960). One of the storylines of the play is the history of two actors (man and woman) of a Russian serf theatre in 1860. I examine the serf actress Stepanida Surep’eva, first, as model for a female destiny and poetic art à la Tsvetaeva; and, second, as a figure whose life and theatrical art are associated with the lives and roles of two of the best known actresses of Soviet theatre of the 1930s–1950s: Alisa Koonen (Phaedra) and Zinaida Reich (Marguerite Gautier in La dame aux camélias).
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