The Moscow Art Theatre Formation and How Konstantin and Chekhov Began Working Together

The Moscow Art Theatre Formation and How Konstantin and Chekhov Began Working Together

The Moscow Art Theatre formation

Konstantin Stanislavski, together with Vladimir Nemirovich-Danchenko, conceived the Moscow Art Theatre as a naturalistic theatre. The Russian playwright and director, Vladimir Nemirovich, and the seminal Russian theatre practitioner, Stanislavski, founded the Moscow Art Theatre in 1898 as a contrast to the melodramas that constituted the dominant form of theatre in Russia (Worrell 14). The Moscow Art Theatre got formed purposefully for the establishment of a theatre of modern art types, with a supplementary approach to its function.

A meeting between Vladimir and Konstantin resulted in the formation of the Moscow Art Theatre. The establishment of this theatre followed a meeting between these two teachers of dramatic art who shared similar theatrical experiences and interests (Borrero 232). The co-founders agreed that Nemirovich-Danchenko was to execute both literary and administrative duties while his counterpart, Konstantin, was to have absolute control over the stage direction. The arrangement proved useful in the improvement of art within the theatre.

The Russian repertory company, Moscow Art Theatre, created new concepts of theatrical production and marked the beginning of modern theatre. The theatre was an establishment that constituted an actual ensemble theatre based on a practical method of production and acting. The contemporary theatre attracted the likes of Chekhov’s plays, which were suitable for the company’s intense and subtle style (Worrall 14). The theatre made multiple successful tours of the United States and has continued its classic repertoire while reflecting the political dynamics within Russia in its new productions.

Worrall (p. 3) argues that the considerable impact of the Moscow Art Theatre, particularly in North America and Europe, stemmed from the development of the acting theory through Konstantin’s writings. Even though the Moscow Art Theatre was founded in 1898, Konstantin did not seriously concern himself with the alternate approach until about a decade later. The acting theory made the Moscow Art Theatre become one of the most significant theatrical institutions in the world.

Worrall (p. 7) reports that Nemirovich-Danchenko and Konstantin came together and created a theatre both accessible and public. For the two co-founders, the theatre was not an incidental nor idle pastime for a select few. The theatre was a fundamental part of the health and spiritual life of the community as a whole. Besides, it was a profession worthy of the dedication of a lifetime’s physical and mental effort (Worrall 7).

Worrall (p. 14) contends that the advent of the Moscow Art Theatre was part of a European artistic and commercial movement that brought the new drama to new audiences. The Moscow Art Theatre parallels with the likes of Freie Buhne in Berlin and the Theatre Libre in Paris. All these institutions had turned their backs on the unrealistic world of extravagant melodrama or romantic comedy. Also, did the Moscow Art Theatre break itself from the conventional Russian melodramas.

How Anton Chekhov and Konstantin began working together

The Moscow Art Theatre achieved its first major success when it managed to revive a play titled The Seagull. The theatre also led to beginning a long artistic collaboration with one of Russia’s most renowned playwrights, Antony Chekhov. The association began when the Moscow Art Theatre staged Anton Chekhov’s play, The Seagull, which had failed in its initial production. The collaboration resulted in significant success for the theatre (Sekirin and Alan 199). Also, it helped Konstantin discover a writer suited to the aesthetic sensibilities of the Moscow Art Theatre. Sekirin and Alan (p. 9) report of Chekhov receiving multiple telegrams from Moscow regarding the success of his play. The Moscow Art Theatre was successful in reviving Chekhov’s play.

According to Stanislavski, the relationship between Chekhov and Stanislavski began in the spring of 1897 when Chekhov became one of the shareholders in the new Moscow Art Theatre. However, the two had had a few sparse prior acquaintances before their great relationship became official. Stanislavski acknowledged Chekhov’s zeal for the goings-on at the Moscow Art Theatre, especially the repertory that the theatre would produce.

Despite Chekhov’s zeal, it wasn’t very easy for Stanislavski and his partner, Vladimir Ivanovich, to convince Chekhov to grant permission for them to stage The Seagull. Chekhov’s play had been disastrously received previously, leaving him crushed and swearing off plays production. Chekhov finally agreed to the play’s staging, which Stanislavski directed and performed as Trigorin. The play had an overwhelming success in its opening. The audience significantly received the premier and insisted that a congratulatory telegram be sent off to Chekhov, who was not in attendance.

Konstantin and Chekhov went on to have a fruitful relationship in the Moscow Art Theatre. However, Chekhov had a specificity of character’s mannerisms and appearance, which would sometimes clash with Konstantin’s psychological approach to acting. Despite this, the two gentlemen would work together to stage the subsequent three plays that put the Moscow Art Theatre on the map as one of the best theatre producers in the world. Besides, the plays’ success brought fame to Chekhov’s name within the theatre. Sekirin (p. 1) contends that Anton Chekhov arguably remains the second-most famous play author on the planet after Shakespeare, whose movie adaptations outrank Chekhov’s.

Works Cited

Borrero, Mauricio. Russia., 2004. Internet resource.

Sekirin, Peter, and Alan Twigg. Memories of Chekhov: Accounts of the Writer from His Family, Friends and Contemporaries. Jefferson: McFarland & Company, Incorporated Publishers, 2014. Internet resource.

Worrall, Nick. The Moscow Art Theatre., 2003. Pri