Editing Konstantin Stanislavski (section)

==Soviet productions==
On his return to Moscow in August 1924, Stanislavski began with the help of [[Liubov Gurevich|Gurevich]] to make substantial revisions to [[My Life in Art|his autobiography]], in preparation for a definitive Russian-language edition, which was published in September 1926.<ref>Benedetti (1999a, 297–298) and Magarshack (1950, 368).</ref> He continued to act, reprising the role of Astrov in a new production of ''[[Uncle Vanya]]'' (his performance of which was described as "staggering").<ref>Benedetti (1999a, 301).</ref> With [[Vladimir Nemirovich-Danchenko|Nemirovich]] away touring with his Music Studio, Stanislavski led the [[Moscow Art Theatre|MAT]] for two years, during which time the company thrived.<ref>Benedetti (1999a, 299, 315).</ref>

[[File:Bulgakov The Days of the Turbins 1926.jpg|thumb|right|325px|Stanislavski's production of [[Mikhail Bulgakov]]'s ''The Days of the Turbins'' (1926), with [[scenic design]] by [[Aleksandr Golovin (artist)|Aleksandr Golovin]].]]

With a company fully versed in his [[Stanislavski's system|system]], Stanislavski's work on [[Mikhail Bulgakov]]'s ''The Days of the Turbins'' focused on the tempo-rhythm of the production's [[dramatic structure]] and the through-lines of action for the individual characters and the play as a whole.<ref>Benedetti (1999a, 302). Benedetti emphasises the contrast between the perception of the system as being concerned principally with character and Stanislavski's actual attention to the play's "structure and meaning".</ref> "See everything in terms of action" he advised them.<ref>Quoted by Benedetti (1999a, 302).</ref> Aware of the disapproval of Bulgakov felt by the Repertory Committee (''Glavrepertkom'') of the [[People's Commissariat for Education]], Stanislavski threatened to close the theatre if the play was banned.<ref>Benedetti (1999a, 302).</ref> Despite substantial hostility from the press, the production was a box-office success.<ref>Benedetti (1999a, 304).</ref>

In an attempt to render a classic play relevant to a contemporary Soviet audience, Stanislavski re-located the action in his fast and free-flowing production of [[Pierre Beaumarchais]]' 18th-century comedy ''[[The Marriage of Figaro (play)|The Marriage of Figaro]]'' to pre-Revolutionary France and emphasised the democratic point of view of Figaro and Susanna, in preference to that of the [[Aristocracy|aristocratic]] Count Almaviva.<ref>Benedetti (1999a, 306–308) and Magarshack (1950, 370).</ref> His working methods contributed innovations to the system: the analysis of scenes in terms of concrete physical tasks and the use of the "line of the day" for each character.<ref name=b308-9>Benedetti (1999a, 308–309).</ref>

In preference to the tightly controlled, [[Meiningen Ensemble|Meiningen]]-inspired scoring of the ''[[mise en scène]]'' with which he had choreographed crowd scenes in his early years, he now worked in terms of broad physical tasks: actors responded truthfully to the circumstances of scenes with sequences of improvised adaptations that attempted to solve concrete, physical problems.<ref name=b308-9/> For the "line of the day," an actor elaborates in detail the events that supposedly occur to the character "off-stage", in order to form a continuum of experience (the "line" of the character's life that day) that helps to justify his or her behaviour "on-stage".<ref name=b309>Benedetti (1999a, 309).</ref> This means that the actor develops a relationship to where (as a character) he has just come from and to where he intends to go when leaving the scene.<ref name=b309/> The production was a great success, garnering ten curtain calls on opening night.<ref name=b309/> Thanks to its cohesive unity and rhythmic qualities, it is recognised as one of Stanislavski's major achievements.<ref name=b309/>

With a performance of extracts from its major productions—including the first act of ''[[Three Sisters (play)|Three Sisters]]'' in which Stanislavski played Vershinin—the MAT celebrated its 30-year jubilee on 29 October 1928.<ref>Benedetti (1999a, 317) and Magarshack (1950, 376–378).</ref> While performing Stanislavski suffered a massive heart-attack, although he continued until the curtain call, after which he collapsed.<ref name="Benedetti 1950"/> With that, his acting career came to an end.<ref>Benedetti (1999a, 317).</ref>