Abstract
ABSTRACT In an age when Russian artists painted flamboyant portraits of leading actors in their roles, Konstantin Stanislavsky chose to be portrayed mostly in street clothes and by drawing and photography. This was in keeping with his theatrical aesthetic, playing down the actor’s personality and avoiding declamatory histrionics. Photography had recorded Russian theatre from the late nineteenth century and a thriving market for actor portraits flourished in big cities. The Moscow Art Theatre was dedicated to preserving its productions via photography, even as Stanislavsky noted the medium’s inability to capture the life of a performance.
Published Version
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