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May 2017 Update
Shot in 2012 as part of Boi’s fieldwork for his Ph.D., this case study explores the link between the performing arts and tourism. MaKuYa (an abbreviation of Makonde, MaKua, and Yao, three ethnic groups) is an arts festival established by the centre for African Development Through Economic and Arts (ADEA). The MaKuYa festival aims to preserve traditional forms of performance and costume by showcasing them, urging Government support of them, and encouraging the establishment of institutions that continue to preserve them. This particular video focuses on three forms of traditional dance.
Albert Shabani Boi lives in Bagamoyo the Coast region in Tanzania. He is a camera man and editor for a private company since 2010. He works with different arts festivals such as the Bagamoyo Festival, Bulabo Festival in Mwanza, and of course the Makuya Festival in Mtwara.
With essay written by Dr. Juma Bakari.
Meyerhold Theatre and the Russian Avant-garde
Meyerhold Theatre and the Russian Avant-garde was shot entirely in Russia. The film utilised archive material from Russian State Archives. Vsevolod Meyerhold, the Russian theatre director, devised the acting technique biomechanics. Using actors this film attempts to recreate his ideas in the context of Russian Theatre of the 1920s. The film is part of an overall documentary series about Russian Theatre.
Michael Craig is a director and producer of independent films and lives and works in Moscow. He founded Copernicus Films.
Nimilitha: The Story of a Siddi Girl Who Closed her Eyes
Based on real life incidents if the Siddi community, Nimilitha covers religion, racism, beauty standards, and misogyny. The Dhamami songs, seeped in tradition, are used to communicate the essence of Siddi lifestyle in this performance. The actors use all three languages spoken in the Siddi community throughout the performance. The dance is improvised from the dance of Siddi Dhamami. Every part is played by either Mrs. Girija Siddi or Miss Geeta Siddi.
Girija and Geeta Siddi are first women of Siddi community who got an education in Theatre and the first to travel outside of India. Girija is now practicing Hidustani Classical music. Geeta doing her Phd. on `women artists in Kannada Theatre’. Channakeshava G. is freelance professional Theatre director, designer, writer, teacher and Theatre activist.
With commentary written by Kathy Perkins.
Andrei Droznin Physical Actor Training
Previously carried on the site in parts, we are pleased to offer the full film. Curated by Paul Allain and filmed by Peter Hulton of Arts Archives, presents examples of Russian pedagogue Andrei Droznin’s physical actor training exercises led by Natalia Fedorova, one of the main teachers working with Droznin’s approach. It provides insights into Droznin’s training which he has developed to combat the increasing ‘desomaticisation’ of the body, as he defines it. Droznin is arguably the most important theatre movement teacher in Russia today. The film attempts to begin to document and analyze some of his methods and shows just a small proportion of the 1000s of exercises in Droznin’s repertoire.
Paul Allain is Dean of the Graduate School and Professor of Theatre and Performance at the University of Kent, Canterbury. His latest project is to make films about physical actor training for an online A-Z for Methuen Drama Bloomsbury.
Michael Chekhov: A Sense of Wholeness V: The Other Moscow Art Theatre
The First Studio becomes an independent theatre – the Second Moscow Art Theatre, with Michael Chekhov as its artistic director. Chekhov plays Hamlet and Ableukhov in the adaptation of Petersburg. A conflict emerges inside the theatre between the two leaders and their groups: Chekhov and his mysticism and Dikiy and his concept of actor/social activist.
Michael Chekhov: A Sense of Wholeness VI: Poetry of Weakness
The Case by Sukhovo-Kobylin, in which Chekhov plays Muromsky, one of his signature roles, with great success. The intrigues within the Second Moscow Art Theatre spilled out to the pages of the national newspapers. Chekhov leaves his beloved theatre and Soviet Russia under obscure circumstances. Everything that interested him as an artist had been destroyed, and the only things left were propaganda.
Michael Chekhov: A Sense of Wholeness VII: Russian Voice
Michael Chekhov in Germany. Historical meeting between Chekhov and Stanislavsky in Berlin and discussion between their different views on acting technique. Michael Chekhov played clown Skid in Max Reinhardt’s production with half-professional actors. Chekhov met his ex-wife Olga Chekhova, who produced and directed one of the last German silent films, The Fool of Love. The films later chronicles Chekov’s travels and performances in Paris, Riga, and New York. Dorothy Elmhirst invited him to organize a new theatre and a new drama school in England, in Dartington Hall.
Michael Chekhov: A Sense of Wholeness VIII: Dartington Hall Utopia
The story of Dorothy Elmhirst and Dartington Hall: a social experiment on creating new education in the areas of science and craft enriched with arts, started in 1935. Artists from all over Europe and not only Europe; the Indian dance company led by Uday Shankar; the German ballet of Kurt Jooss; Bertrand Russel lectured there. In 1938, the war was in the air, and Michael Chekhov and his Studio moved to the USA, Connecticut, to a very similar location. Chekhov’s studio production of Dostoyevsky’s Demons on Broadway was a dismal failure. After 3 years in Connecticut Chekhov moves to Hollywood.
Michael Chekhov: A Sense of Wholeness IX: Moral Resume
Chekhov spent his last 13 years in Hollywood, including his Oscar nominated work in Hitchcock’s Spellbound, and he completed his book To the Actor: On the Technique of Acting. Chekhov writes a letter to Sergei Eisenstein after seeing his film Ivan the Terrible. The film ends with Chekov’s two heart attacks and death.
Konstantin Stanislavski. After My Life in Art, Part 3-5 (The Return, The System, Isolation)
A TV program of 5 episodes depicting life and work of Konstantin Stanislavsky after the October Revolution of 1917, the place of the Moscow Art Theatre in the Soviet Russia, their triumphant tour in Europe and America in 1922 – 1924, the beginning of the Stanislavski System and the last period of his life, when he left MAT and worked in the Opera Studio.
Dr Anatoly Smeliansky is a leading Russian theatre writer, scholar and critic who joined the Moscow Art Theatre in 1980 as Literary Director. Dean of the Moscow Art Theatre School since 1986, he became Rector of the School in 2000. He is the Editor-in-Chief of the new edition of the Complete Works of Konstantin Stanislavski and The Moscow Art Theatre Encyclopaedia; author of the novel Is Comrade Bulgakov Dead?; and the recipient of several national awards for artistic excellence, including Distinguished Artsmaker of Russia.