2007-2008 --

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Stage Directing Theory
Directing Theory: pre-text, text and super-text
I hope that with Virtual Theatre technology I can get back to my Russian past. Web & Internet do break the borders. The special topics class I plan to teach in the Spring 2001 includes workshop of my hyper-play "Story of David Z." -- "Russian Story in English"... Williams would say "memory play"; I rather use Dostoevsky's definition of fantastic realism.

This project will be webcast the same way we did with the "3 Sisters" and now with the "Twelfth Night" -- and "The Importance of Being Earnest" in the Fall 2000.



Gateway PAGES:


Some Theatre Sites:STATESON U
In Association with Amazon.com

new: Oksana Mysina

Dionysis -- Biomechanics

Method -- Apollo

Directing Showcases
3 Sisters, Mikado, 12th Night, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-7751
Theatre Books
Method for Directors?


Instant Immersion Russian 2 CD-ROM Set (Jewel Case) Learn to speak Russian through complete immersion. The Euro Method is an easy and simple way to learn to speak a second language. Based on the same techniques that allow a 4-year-old child to speak a language long before that same child can read or write, the Instant Immersion Russian CDs teach users to speak Russian quickly. The software provides interactive lessons that truly immerse users in the language. The two CD-ROMs enclosed are from EuroTalk, a European publisher of language-learning software. Talk Now! and World Talk will take users from beginning to intermediate levels using fun and easy-to-follow methods.
The Possessed 2003
Essential Russian Grammar * Efficient, systematic instruction in all the grammar needed for speech and comprehension: parts of speech, pronunciation, word order, negation and more. Useful phrases, glossary of grammatical terms included in this perfect adjunct to a language course or for independent study. Russian Stories (Russkie Rasskazy): A Dual-Language Book by Gleb Struve (Editor) Twelve superb tales by Chekhov, Tolstoy, Dostoevsky, Pushkin, Bunin, other masters. Excellent word-for-word English translations on facing pages. Also teaching and practice aids, Russian-English vocabulary, biographical/critical introductions to each selection, study questions, more. Especially helpful are the stress accents in the Russian text, usually found only in primers.


Using Russian : A Guide to Contemporary Usage
Through our partnership with Amazon.com, we are offering an exclusive Film-North version of the award winning Alexa Toolbar. This toolbar is a great way to surf the web because it constantly provides you with Related Links. It's a great time saver! Plus, when you download and use the toolbar, you'll help support Film-North.
* one act fest
English-Russian, Russian-English Dictionary by Kenneth Katzner * 1120 pages Publisher: Wiley; Rev&Exp edition (November, 1994) ISBN: 0471017078
Based on American rather than British English, this is among the first Russian dictionaries revised for the post-Soviet era. Includes new political terminology, new Russian institutions, new countries and republics and new city names. Contains 26,000 entries in the English-Russian section and 40,000 words in the Russian-English section. Irregularities in Russian declensions and conjugations appear at the beginning of each entry.


chekhov pages @ vtheatre
A Triptych from the Russian Theatre: An Artistic Biography of the Komissarzhevsky Family by Victor Borovsky 588 pages Publisher: University of Iowa Press; 1 Us ed edition (February 15, 2001) ISBN: 0877457336

The Oxford Russian Dictionary: Russian-English English-Russian 506 pages Publisher: Berkley Pub Group (Mm); Reissue edition (October 29, 2002) ISBN: 0425160130 $2.67

Langenscheidt's Pocket Russian Dictionary: Russian-English/English-Russian (Langenscheidt's Pocket Dictionary) $10.46 900 pages Publisher: Langenscheidt Publishers (April 1, 2001) ISBN: 1585730580

RAT (new directory)


Russian American Theatre (RAT) project took two years of my life. Maybe more. Two years in Russia. In 1994 with the 3rd RAT Summer Conference at NYU the RAT died.

The University of Alaska couldn't maintain this International program; Russia got expensive and I ran out of energy. For more details go to my RUSSIAN page.

NYU'94 Russian-American Theatre 3rd conference, see RAT Index Page
Stage reading of DEATH OF VAN HALEN in New York. [Photos of the conference by Mark Sherman, 1994.]

For scenes from the play go to PLAYS

I have two years of the archive materials I collected in Russia (part of my Fulbright job assigment) and I will continue with new pages in the RAT directory.
Theatre-Studios of Russia, the list of contacts, directories, new names. The big theatres are well covered already.

Garik Chenyakhovsky, Vakhtangov Theatre director, Moscow, and Lev Shekhtman, Theatre in Action, NYU (this group is no longer exists). The Vakhtangov Theatre in Moscow has a new (very good) group under directions of Petr Fomenko, who staged my first play in St. Petersburg (Leningrad in 1978) "Smarties" at the famous Akimov Comedy Theatre.

Pushkino. Interstudio 1992.

Kxusim is probably the best known Russian puppet director, more of the scenes from Interstudio on ACTING page.

Terra Mobile, Vadim Micheenko with his group didn't make it to New York. Rat had no money. Read about them on DIRECTING page. Vadim trained his actors in his own theory of moving points. According to Dr. Micheenko, each movement is created by a single and only spot in a body. Actor defines it and lets the rest of the body follow it. More on mechanics of acting in Acting Directory.

Two shows by Terra Mobile were presented in St. Peterburg for the First and Second RAT Conferences in Russia. "THE OVERCOAT" is based on Gogol's short-story.

If you plan travel to Russia, go to the RAT-Russia where I list the places and theatre groups I recommend. In many cases you should use their home numbers, if you want to get in touch with people. The listing is a part of RAT project "Small Theatres of Russia" -- call before you go, it's okay, tell them that I gave you the number.

If your institution has some money for guests, consider studio-theatres, all it takes is the tickets and accomodations. Most of them are never more than a dozen company members.

[ RAT pix are missing ]

My students -- left, Sven Holmberg (actor) and Daniel Klinfeld (director). Both went to Russia with RAT and now are working in NYC.
Their experiences and writing -- in AMERICANS IN ST.PETERSBURG, the magazine we were publishing in Russia.

[image]Click on pix and go to SPECTATOR, the most interesting for me aspect of theatre theory. I believe that all the answers to acting, directing writing for theatre are there. Spectatorship is the foundation of all professions. Unfortunately, since I don't teach such a class, I keep it as a research only, but using the formulas and principles in all my courses.

Spectatorship is ACT and EVENT. Viewing this web page is a performance. You are the author already! All you have to do now is to learn how to make others into AUDIENCE.

Subscribe to 3 Sisters
3sis archive Hosted by eGroups.com
Cast, Crew, Studies -- "3 Sisters" discussion egroup, subscribe and become a members of Chekhov Virtual Theatre Production in Alaska! Read, write, see and add links, images, polls!
Kamenny-Ostrov Volkov-Cemetory
2005 new:

in focus:

projects: Shrew04


shows: The Possessed

classes: Script Analysis & BioMethod (Acting I)

web: vertical hierarchy

reading: books

student center

groups: acting2





playsChekhov, Ibsen, Shake
@2000-2003 thr w/Anatoly * St.Petersburg
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Chekhov Study English, Study Russian -- bilingual texts Chekhov Farces *

I did it many times; in the 80s and 90s...

This is how I did learn English myself...

I mixed American an Russian actors. We did translations as workshops. We did the shows in two languages...

I placed the Russian texts to help me to translate "Four Jokes and One Funeral" -- UAF Fall 2005 show.

Use it -- Chekhov works!

Perform it!

Theatre always works!

NTL, get some good dictionary!

Anatoly 3.1.05

"In all the years of its existence, the Golden Mask Festival has been nothing if not a study in contrasts no other Russian festival embraces as fully the multiplicity of the performing arts. Once a year, for just over two weeks in spring, the best Russian opera singers, ballet dancers, dramatic actors, directors, conductors, puppeteers and other sundry performing artists gather to show their stuff and compete for the coveted Golden Mask award.

... All productions in the competition premiered during the 2003-2004 season and have been selected for participation by one of two boards of experts one for dance and musical theater, another for drama and puppetry. The award winners will be announced during a ceremony at the Mossoviet Theater on April 11.

Because of its reputation for being a showcase for theater from all over Russia, special attention is always afforded productions originating beyond the pale of the media glare in Moscow and St. Petersburg. In the fields of music, dance and puppetry the broad geographical array has been maintained this year. Nine cities, ranging from the cultural centers of Novosibirsk and Saratov to the small cities of Abakan and Neryungri, are represented in these categories.

This year the Golden Mask will conduct the most extensive range of special auxiliary programs in its history. Every year we attempt to find a unique approach to the festival and this year it is in the general discussions and forums where we can discuss matters of the Golden Mask, culturological research and discussions about the future of theater, says Eduard Boyakov, a founding member and the festivals former general director who remains active in festival affairs.

For the sixth year running, the Russian Case a festival within the Golden Mask will make it possible for approximately 100 guests from 31 countries to take in an overview of important Russian productions of the last two seasons in a short period of time.

***See the Dance, Opera, Theater and Gigs listings for the full Golden Mask Festival schedule. For information about the special programs, call the festival offices at 755-8335 "


2006-2007 vTheatre: postmodern project * my yahoo: theatre

Levitan-Chekhov Up-level

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2005 by vtheatre.net. Permission to link to this site is granted. books.google.com
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