279 Nemirovich -Danchenko Vladimir Ivanovich (1858-1943) 85岁,
Nemirovich-Danchenko. Vladimir. Ivanovich: director, educator, writer, playwright, theater reformer and theorist, People's Actor of the USSR (1936). 1876-1879 Studied at the Faculty of Mathematical Physics and the Faculty of Law of Moscow University, wrote novellas, short stories and screenplays. theatre critic from the 1870s; In the 1890s his plays " New Things " , " Gold " , " The Value of Life " and others were staged in Moscow. In 1898 together with Stanislav he founded the Popular (Popular) Art Theater (Moscow Art Theater, from 1919 МХАТ).
After becoming a repertoire manager, he determined the ideological repertoire direction of the theater and became the pioneer of introducing into the repertoire the plays of Chekhov, Gorky, Ipsen, Hoptmann and others. Together with Stanislav, he staged Gorky's "One Day" (1902); Chekhov's The Seagull (1898), Uncle Vanya (1899), Three Sisters (1901), The Cherry Orchard (1904); One of their finest works is Shakespeare's Julius Caesar (1903). During his lifetime, he presided over the Moscow Art Theatre and was its manager and artistic director. In 1919 he founded the Moscow Academy of Arts.
Danchenko - a famous Soviet theater director, drama writer, theater theorist and educator
Born on 11 (23) December 1858 in a small town in western Georgia to a family of old Russian officers. In 1876~1879, while studying at the Department of Physics and Mathematics of Moscow University, he published many drama criticism articles under pseudonyms. In the eighties and nineties of the XIX century, he taught at the Music and Drama School attached to the Moscow Conservatory.
theatre critic from the 1870s; In 1881 he wrote his first short story "On the Station", and in 1882 he wrote his first comedy "The Wild Rose". He then wrote a series of plays reflecting Russian social life: among them " New Cause " ( 1889 ) , " Gold " ( 1894 ) , " The Value of Life " ( 1896 ) and " In Fantasy " ( 1901 ) .
In the 1890s his plays " New Things " , " Gold " , " The Value of Life " and others were staged in Moscow. In 1896, The Value of Life was awarded the Gribaidov Prize, but he refused to accept it; He insisted that the prize money be awarded to Chekhov, the author of the play "The Seagull", which appeared in the same year.
Many of Danchenko's plays were performed at the Alexandra Theater and the Little Theater, directed by him himself. In 1891~1901, he was engaged in drama education in the drama department of the Music and Drama School affiliated to the Moscow Music Association, and trained a group of young actors, including Knibil-Chekhova and Meyerhold.
In his many years of theatre practice, he felt that the theatre of that time had to be completely renewed. On June 21~22, 1897, he worked with Stanislavsky to formulate the program and rules and regulations for the creation of a new type of theater. On June 14, 1898, the Moscow Popular Theater of Arts (the original name of the Moscow Art Theater) was opened, and he was responsible for the administrative and artistic leadership of the theater and presided over the formulation of the guidelines for the staging of plays.
During his 45 years of working in the theater, he staged 113 plays, 58 of which he directed and directed therapeutically . He co-directed Chekhov's famous plays "The Seagull" (1898), "Uncle Vanya" (1899), "The Three Sisters" (1901), "The Cherry Orchard" (1904); Directed "Ivanov" (1904) alone. In 1902, the theater performed "Small Market" and "The Bottom" (Danchenko co-directed with Stanislavsky).
He also included famous plays from Western European countries in the repertoire of art theaters, and directed a number of plays by Ibsen, Hauptmann and Shakespeare. After the defeat of the 1905 revolution, Danchenko attached great importance to the staging of classical Russian plays, and co-directed with Stanislavsky Griboyetov's The Pain of Wisdom (1906), Gogol's The Chancellor (1908), and Tolstoy's The Living Corpse (1911). He himself directed Pushkin's Boris Godunov (1907), The Stone Man and Turgenev's The Eater (1912).
In terms of theatrical innovation, Danchenko tirelessly carried out bold explorations. In 1908, in Rosmo Zhuang, he used tweed drapery as a set instead of a real set, a pioneering feat never seen in Russian theater.
In order to explore the form of Russian tragedy, he added reciters to the play (based on Dostoevsky's novel of the same name) when directing The Brothers Karamazov (1910), and replaced the sub-scenes with chapters of the novel. He divided the scene according to the actual needs of the performance content, and the performance lasted for two consecutive nights. The performance was a huge success and opened up a wide world for theatrical performances.
After the October Revolution, Danchenko assumed the leadership of the "Drama Center", the highest leading body of the theater industry at that time. He is also one of the founders of the magazine Theatre Culture.
For the first time, the Art Theater rehearsed a play on the historical theme of the revolution: he personally directed the plays "Bugachov Uprising" (1925), "Orchard in Polov Chanchansk" (1939). In 1936, the theater successfully staged Trenyov's famous play "Lyubov Yarovaya", which was one of his most important creative achievements. In 1942, he directed Bogotin's famous play "The Bells of the Kremlin", which successfully created the image of Lenin.
Danchenko (front first from left) with bass singer Sharyabin (front second from left) with actors from the Moscow Art Theater
Danchenko's work in the musical theater is of great significance. In 1919 he founded the Moscow Art Theater Music Workshop, which in 1926 was renamed the Nemirovich-Danchenko Musical Theater. He tried his best to harmonize drama and music, reforming the theatrical basis of opera. He performed Carmenseta and the Soldiers (1924) based on the music of Bizet's opera Carmen, emphasizing the predominant musically tragic nature. He also directed several modern operas of the Soviet Union.
Danchenko's aesthetic thought, creative principles and directing methods, through more than 60 years of artistic practice, have been summed up in the famous "Danchin Science Theory", which he once summarized as the most succinct formula: "the synthesis of social reality, life truth and dramatic truth".
He strictly requires actors to live in roles on stage. He melts the clues of the actor's physical self-feeling and mental activity into a unified whole, and creates according to the inseparable clues of the unity of psychological actions and physical movements. In the years leading up to his death, he was passionate about the dramatic emotions that shocked theatre.
Danchenko was a close collaborator of Stanislavsky, and together they founded the Moscow Model Theatre for Arts, which made a great contribution to the development of theater art around the world. "Danchin Science Theory" has become an important part of the "Stanislavsky drama system".
Danchenko was awarded the title "People's Artist of the USSR" (1936) and the Order of Lenin;
He was Chairman of the State Prize Committee of the USSR (1940). He died on April 25, 1943, at the age of 84.
His main works are: "Nemirovich-Danchenko Anthology" in two volumes, "Nemirovich-Danchenko Drama Collection", "Nemirovich-Danchenko Memoirs", "Nemirovich-Danchenko Letters" in two volumes.
Danchenko once famously said: The happiest thing for a person is to always do what he likes. His life was happy, and he loved his theatrical career as sweetly as tasting this bunch of grapes.
Danchenko with the famous Russian writer Chekhov
In 1898, actors of the Moscow Art Theater listened to Chekhov read his play "The Seagull"
Danchenko's wife - Ekaterina . Nikolaevna she is a pillar of the Moscow Art Theater, a talented beautiful and extraordinary woman. Their marriage is a beautiful legend that Danchenko loved his wife deeply.
Danchenko and his wife entertain guests in their garden
Danchenko is in the United States with his wife and son
In the Novodevichy Cemetery in Moscow, the memorial tombstone of Danchenko and his wife Danchenko's own tombstone is quite plain. However, a wonderful work of high relief in white draws attention - the image of Ekaterina Nikolaevna Nemitirovich-Danchenko, whose predecessor was Baroness Kolf. It's a beautiful love story. True, Ekaterina Nikolaevna herself is a beauty. No wonder Stanislavsky called her a "spiritual pillar" of the art theater.
In the grave of Danchenko and his wife, he specially asked the beauty of his wife to be carved on the memorial tombstone. Danchenko lived five years longer than his own wife. In his bedroom on Grinishev Avenue hangs an exquisite copy of Ekaterina Nikolaevna's high-relief work.
Next to the Bolshoi Theatre, a memorial statue of Danchenko and Stanislavsky
Close-up view of the previous monument statue: Danchenko on the left, Stanislavsky on the right
A commemorative sign outside the house where Danchenko once lived
Commemorative plaque outside the museum of Danchenko's former home
Photos of the interior furnishings of Danchenko's former home in the museum
Inside Danchenko's former home museum, a group photo of the Moscow Art Theater in 1928 The middle two sitting in the front row, Stanislav on the left and Danchenko on the right.
Commemorative copper coin of Danchenko
Bust of Danchenko
Danchenko's works on theatre published in Russia
Danchenko's works on theatre published in Russia
The order of the characters is in Russian alphabetical order;
The pre-biography part of the article was translated by me;
The resumes of the characters in the text, some on the Internet, are used (blue handwriting);
If not, find his CV in Russian, partially translated by himself (in brown handwriting).
The photos and pictures of the people involved in this article are collected online.