Outstanding Directors Research Articles

VAGAPOVA N.M. THREE RUSSIAN DIRECTORS IN EUROPE. UNREAD PAGES IN THE HISTORY OF RUSSIAN ÉMIGRÉ THEATRE: 1920S-1960S. MOSCOW: GOSUDARSTVENNYJ INSTITUT ISKUSSTVOZNANIYA, 2002. 379 P.

The review presents a monograph by Natalia Vagapova, a well-known domestic theatre critic, slavist and translator, dedicated to the contribution of Russian emigration to European culture. This study, based on unique factual and archival material, gives a deep and objective idea about fruitful influence that reprsentatives of Russian theatre school exerted on the development of Bulgarian and Yugoslavian Theatres. The most outstanding directors who left Russia - Nikolai Massalitinov, Petr Sharov, Yuriy Rakitin - spread the experience of Moscow Art Theatre and the system of Stanislavsky, and made a huge impact on the history of forein theatre, especially the spread of Chekhov’s drama.

Мистецьке об’єднання «Березіль» – театр «Березіль» в архівних і музейних зібраннях України (до 100-річчя з дня створення)

The aim of the work is to consider a wide range of archival documents related to the peculiarities of the unique theatrical ensemble of the Berezil Art Association – Berezil Theater and its founder – the outstanding director, theater reformer Lesya Kurbas. Research methodology. Methods of socio-cultural, cultural-historical and systemic approaches were used in the development of the issue. Historical, source, phenomenological and analytical methods were also used. The culturological approach made it possible to study the activities of the Berezil Art Association – Berezil Theater as a culturological phenomenon. Scientifi c novelty. For the fi rst time, a comprehensive review of the documentary heritage of the Berezil Art Association – Berezil Theater in the archival and museum collections of Ukraine. The volume of collections of the Museum of Theater, Music and Cinematography of Ukraine, the scientifi c archive of the MT Rylsky Institute of Art History, Folklore and Ethnology of the National Academy of Sciences of Ukraine, the Central State Archive-Museum of Literature and Art of Ukraine , archival repositories of Kharkiv, private collections, etc. Conclusions. The publication emphasizes the specifi cs of the source study of theatrical creativity, as well as the signifi cant potential of national archives and museums in the study of an exceptional phenomenon of Ukrainian culture – the Berezil Art Association – Berezil Theater. Prospects for further research. A full-fl edged reproduction of all the circumstances of the Berezil Art Association – Berezil Theater is impossible without examining a large set of iconographic materials, which includes programs and posters of performances, sketches of costumes and decorations, models for performances and more. At the same time, a comprehensive review of the theatrical and organizational activities of the Berezil Art Association – Berezil Theater will not be complete without taking into account administrative and economic documents, as well as documents on investigative cases of actors, directors and other employees of the theater.

Тандемы мечты: из истории несостоявшихся проектов Юджина О’Нила

This article is focused on Eugene O’Neill’s failed artistic collaborations with outstanding directors, actors and singers. It is the first attempt, in the Russian theatre studies, to get to the truth behind the playwright’s unrealized tandem with the legendary opera singer Feodor Chaliapin. The creative destiny of O’Neill’s play Lazarus Laughed (1927) is tracked from the attempts to stage it in New York, Chicago, Berlin and Moscow, all the way to the long-anticipated premiere at the Pasadena Playhouse in Pasadena, California. Special attention is paid to the Kamerny Theatre shows in Paris and Buenos Aires. Also under scrutiny is the American playwright’s private correspondence — in particular, with literary agent Richard Madden, translator Alexander Berkman and theatre producer Kenneth Macgowan. Particular emphasis is put on the playwright’s work behind the scenes and his active contribution to the translation of his ideas to the stage. The article reflects O’Neill’s approach to picking actors for lead roles in the stage productions of his plays, and also gives a logical conclusion to his failed meeting with two-time Academy Award winner Spencer Tracy at the Tao House in Danville, California. The paper provides a review of Ingrid Bergman’s acting performance in the Anna Christie production (Lobero Theatre, Santa Barbara, 1941) and in Jose Quintero’s Broadway production More Stately Mansions (Broadhurst Theatre, New York, 1967) based on Eugene O’Neill’s late unfinished play.

Peculiarities of the Implementation Specificity of the Director’S Idea in the Screen Work

The purpose of the work is to investigate the peculiarities of the embodiment of the director’s design in screen works. Research methods. In the course of the research,based on the analysis of scientific works of outstanding directors and their screen works, the principles of an embodiment of the director’s plan were formed. The systematic approach identified the problem of finding an idea of the idea in the film. With the help of synthesis, the special principles of influencing the viewer were deduced through the directorial design of the screenplay. Scientific novelty. On the basis of scientific research, for the first time, specific tools for the realization of the director’s idea were identified, the nature of cinema and the genre features of creating a screen work were revealed. Conclusions. In the course of the study, we made some conclusions based on a systematic approach to the study of cinema nature. Due to the genre peculiarities of the screenplay embodiment, tools for expressing an idea can be film editing, according to the genre of the screenplay. Semiotic imagery can be the key to translating an idea into a movie. Therefore, the issue of filmmaking is always relevant in both documentary and feature format. The programs or films conflict on television is no exception.

Візуальна інсталяція як елемент акторської майстерності

The purpose of the research is to analyze the using forms features of visual installation as an important acting component. Research methodology. To achieve the goal, comparative methods have been used as a means of comparing the forms of visual installation and modeling features of the elements by which these forms have been structured. The scientific novelty lies in the fact that the role and values of the forms of visual installation in the processes of acting education have been characterized, and the dynamics of the techniques development based on the use of visual installation as an element of acting is also considered. Conclusions. Visual installation is an element of acting in the process of creating a stage image. Outstanding directors, actors and world-class teachers spoke about the problems of visual installation. The education of calisthenics expressiveness in professional actors is an indispensable component of the professional training of a modern actor and a necessary means of stage embodiment of an artistic image. The presence of various training methods makes it possible to widely use the visual installation in the actor’s work on his role in various directorial paradigms representing the modern theater art development. The considered methods of using visual installation in the actor’s work reveal certain trends, the essence of which lies in the search for additional means of expression in traditional acting techniques of a gestural and behavioral nature, an attempt to connect them with the artistic tasks embedded in the “theater text”, and to deepen its semantic vector interpretation with the help of the actor and the central figure of the stage action. That is why the increasing importance of multi polarity in the professional training of those who participate in the creation of the play. We are talking about the need to master various visual installation techniques not only at the acting level, but also at the director's level. The general role of these techniques is to enrich the stage palette of the performance using the language of the body, gestures, movements, which in modern theater acquire the leading means significance of expression, dictating the choice of other means that are directly related to the participants of the performance (decoration, spatial design of the stage, etc.).

The Kharkiv actresses Polina Kumanchenko and Lidiya Krynytska in the image of a mother in the films “Human’s blood is not water”, “Dmytro Horytsvit”, “People don’t know the all” and “Lymerivna”

The Kharkiv actresses Polina Kumanchenko and Lidiya Krynytska in the image of a mother in the films “Human’s blood is not water”, “Dmytro Horytsvit”, “People don’t know the all” and “Lymerivna”

Fernand Crommelynck’s dramaturgy and its interpretation by Vsevolod Meyerhold and Les Kurbas

Fernand Crommelynck’s dramaturgy and its interpretation by Vsevolod Meyerhold and Les Kurbas

Un boceto original de Manuel Fontanals

Manuel Fontanals fue el escenógrafo más importante del cine mexicano del periodo clásico. Llegó a México en 1937 a raíz de la Guerra Civil española, luego de una brillante trayectoria como escenógrafo teatral, diseñador de vestuario, decorador, ilustrador y diseñador editorial, desarrollada en su país natal y Europa. Debutó en el cine mexicano como escenógrafo de la película María (Chano Urueta, 1938), a partir de entonces y hasta los años setenta filmó más de doscientas películas, con directores tan importantes como Emilio Fernández, Roberto Gavaldón y Arturo Ripstein, con quien realizó El castillo de la pureza, su última película.

The Context of Maria Knebel’s Artistic Fate: Teachers and Students

The article reveals the main features of M.O. Knebel’ artistic periods. She was an outstanding director and theatre teacher of the 20th century. In May 2018, it was 120 years since her birth. This study applies historical-cultural, sociocultural, and art-historical methods. On the basis of systematization and generalization of her biographical information, as well as analysis of her creative way, the article traces the transformation of M.O. Knebel from a supporting actress to the director and theater teacher. The study is relevant, because M.O. Knebel is underestimated as a person who harmoniously combined acting, directing and pedagogical intentions. There is much attention paid to the main paradox of M.O. Knebel’s creative career, which consists in understanding that if she had not had the episodic actress’ experience she would not have come to the directing and pedagogical way. All M.O. Knebel’s creative achievements arose from her not quite successful acting career. Therefore, the study proves the connection between the experience of M.O. Knebel as an actress of the second roles in the Moscow Academic Art Theater and the successful implementation of her directing and pedagogical aspirations. To identify the hidden springs of M.O. Knebel’s activity, much attention is paid to the context of her work: her circle is analyzed — the teachers, colleagues, students. The author emphasizes that M.O. Knebel was a kind of link between theatrical generations. Being a propagandist of the great Stanislavsky and Nemirovich-Danchenko’s teachings and continuing the traditions of her teachers, she raised a bunch of outstanding directors. Thus, the personality of M.O. Knebel, presented in a wide context, is included, in turn, into the contextual circle for generalization of new directors and actors’ creative work. The article shows the result of the study, which refutes the idea of secondary cultural signifi cance of the actors who did not become famous and did not receive outstanding recognition, but crystallized into great teachers and directors who even established a creative school.

Els directors d'escena valencians en temps de democràcia

Summary: This article focuses on the figure of the theatre director in València from the beginning of the democratic era up to the first years of the twenty-first century. This is an aspect of theatre which has so far been little studied. To begin with, we give an overview of this figure, taking into account on the one hand the type of theatrical institution involved (public or private), and on the other, the type of theatre (text-based, indoor...) in which directors have usually worked. We then offer a more detailed picture of the most outstanding director of this period in València, Carles Alfaro (born in València in 1960), who did important work at the head of the Moma Teatre company (1982–2004). [Keywords: Valencian theatre; theatre director; theatre production; theatre companies; Carles Alfaro]

From the Chair & From the Director

One of the pleasures of being chairman has been to work with Bill, Yuri and Jaimie and many others within CBRL, and with the offi cers and members of the CBRL Committee of Management. Andrew Garrard, the Hon. Secretary, and Brennan Hiorns, the Hon. Treasurer, like their predecessors put in an immense amount of their own time for the CBRL. We have had an excellent administrative secretary in the form of Penny Wiggins who, apart from being highly effi cient, is also a source of good advice to the offi cers. We have been fortunate to have had for the last eight years such an outstanding director as Bill Finlayson. The CBRL members owe them all a great deal.

The Haus-, Hof- und Staatsarchiv in Vienna

(1998). The Haus-, Hof- und Staatsarchiv in Vienna. The Court Historian: Vol. 3, No. 3, pp. 9-15.

1993 ACCOUNTING HALL OF FAME INDUCTION: RICHARD T. BAKER

INTRODUCTIONRichard T. Baker is best described as a great leader in everything he has done: athletics, business, civic and charitable, education, and professional.Dick Baker's leadership is exemplified by his unique ability to urge his colleagues to perform to their highest potential. Characteristic of a good leader, he achieved by providing others the opportunity and encouragement to achieve, and then by giving them the recognition for their accomplishments.Progressing rapidly in the profession during a period when there were major distinctions between partners and staff, Dick continually strived to reduce these barriers. He was very successful in developing a collegial environment in Ernst & Ernst, where every person was treated with respect for their respective individual abilities regardless of their position. The result was the improved realization of everyone's talents.Long a strong proponent of education, Dick led his firm to design, construct, and staff an education center For the professional education of its people, as well as or others in the academic and business community. He also encouraged continuing education throughout a person's professional career, realizing that rapid changes in the business environment required that each professional's skills be continually updated and enhanced.Dick Baker always encouraged the profession to address and resolve its challenges and problems through its own efforts rather than by looking to the government. He believes that the private sector is capable of making even greater contributions to our economy and our well being through utilizing and organizing the many capabilities of its private citizens. Throughout his career, Dick freely gave his personal time and resources to many civic, business, and educational leadership positions.In summary, Dick is a man who has challenged himself and others to achieve their personal best, while always being fair to and respectful of every person. It is a personal privilege and pleasure to know him and to have worked with him.Ray J. Grooves Chairman, Ernst & YoungINDUCTION CITATIONAlways a leader, his lifetime, like Gaul, can be divided into three parts, each one crowned with distinction and widespread recognition. In the first phase, he achieved the ambition of every American schoolboy to become a national champion athlete. In his maturity, he rose through the ranks of his public accounting firm to become its managing partner and worldwide leader for over a dozen years during a period of increased awareness of an accounting information, great professional growth, and major social change. In the third phase, for a fifteen year period, he served on the boards of directors of seven Fortune 500 companies (none of which were clients of Ernst & Ernst). In 1986, he was selected by the National Association of Corporate Directors as the Outstanding Director of the Year. On all seven companies, he was chairman of their increasingly powerful audit committees. Now retired from all boards except one, he plays golf, fishes, and hunts a little and has time to enjoy the accomplishments of others including those of his four college degreed children and playwright son.He also keeps close tabs on the pronouncements of the Financial Accounting Standards Board. Born during World War I in Anderson, Indiana, he was educated in a one-room school house through the sixth grade. He was the youngest of three sons of a father who worked for General Motors-Delco Remy Division for 35 years at a managerial level. In Anderson High School, Dick achieved the dream of every Indiana youth. In his senior year, he starred on the basketball team which won the state championship and was named on the all-state team. He came to Ohio State with only a waiver of the out-of-state tuition to play basketball and to major in accounting. He worked part-time as an assistant trainer to support himself for four years. …

Mexican Film Scenarios

In the history of the sound film there have been several good Mexican writers. Frequently we find them teamed with the two outstanding directors of Mexico: Luis Bufiuel and Emilio Fernandez. Sometimes they have written for less known or even unknown directors. Who are the writers that have given all of these directors their screenplays, cinedramas, or scenarios? How can we find access to their work? What do they represent? These are questions whose answers should interest students of literature. The answers lie hidden in strange places, since critics generally classify films by director and producers remember them as titles. If we turn first to the writers' union, we find that is has provided the scholar with an invaluable tool. Known to some writers as a