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| Author(s): |
Daniela Simone Terehoff Merino
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH/SBD) |
| Defense date: | 2021-08-13 |
| Examining board members: |
Elena Vassina;
Nair Dagostini;
Bruno Barretto Gomide;
Sonia Branco Soares;
Marcia Pileggi Vinha
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| Advisor: | Elena Vassina |
| Abstract | |
The First Studio of the Moscow Art Theatre (MAT) was founded by Konstantin Stanislavski (1863-1938) and Leopold Sulerzhitsky (1872-1916) in 1912 - two years before the outbreak of the Great War. The unavoidable contrast between the militaristic context and the artistic endeavor of the visionary theatrologists rendered to their project a utopian character, which ultimately aimed to inspire and transform people (actors, directors and audience alike) through the art of theater. Such transformation was sought either through the way the classes were conducted at the Studio, or by the choice of the plays to be staged. The artistic ideals of Stanislavski and Sulerzhitsky in that period, as well as the two main plays chosen to be presented by the actors of the Studio between 1914 and 1917 -- I am referring to the texts The Cricket on the Hearth and The Flood, translated for the first time into Portuguese in this work --, attest how strong was the influence that the writer Leo Tolstoy (1828-1910) and his pacifism exerted on the members of this Russian theater laboratory. Having this framework in mind, I aim to develop the following themes in this dissertation: 1) the interrelations established between the First Studio and the Russian reality of this pre-revolutionary context; 2) the repercussion of the critics and the audience in relation to the two main plays performed by the Studio during the war and 3) the way actors and directors sought the moral improvement of the human being based on Leo Tolstoy\'s principles. The critical and theoretical background of Russian researchers Elena Poliakova, Sergei Tcherkassky, Pavel Markov, Konstantin Rudnítski and Inna Soloviova, as well as the hitherto unpublished translation of the two plays, will allow us to broaden our knowledge of the Stanislavski\'s System and the artistic utopia of the First Studio, which existed at a time when everything was contrary to beauty, harmony, and ethical and aesthetic values. (AU) | |
| FAPESP's process: | 17/21093-8 - The first studio of MAT: artistic utopia in the context of war |
| Grantee: | Daniela Simone Terehoff Merino |
| Support Opportunities: | Scholarships in Brazil - Doctorate |