Editing Konstantin Stanislavski (section)

==Naturalism at the MAT==
{{See also|Moscow Art Theatre production of The Seagull|l1=Moscow Art Theatre production of The Seagull}}

The lasting significance of Stanislavski's early work at the [[Moscow Art Theatre|MAT]] lies in its development of a [[Naturalism (theatre)|Naturalistic]] performance mode.<ref>Gordon (2006, 37–38, 55), Innes (2000, 54), Leach (2004, 10).</ref> In 1898, Stanislavski co-directed with [[Vladimir Nemirovich-Danchenko|Nemirovich]] the first of his productions of the work of [[Anton Chekhov]].<ref>Allen (2000, 11–16), Benedetti (1999a, 85–87) and (1999b, 257–259), Braun (1982, 62–65), and Leach (2004, 13–14).</ref> The [[Moscow Art Theatre production of The Seagull|MAT production of ''The Seagull'']] was a crucial milestone for the fledgling company that has been described as "one of the greatest events in the history of Russian theatre and one of the greatest new developments in the [[History of drama|history of world drama]]."<ref>Rudnitsky (1981, 8); see also Benedetti (1999a, 85–87) and Braun (1982, 64–65).</ref> Despite its 80 hours of rehearsal—a considerable length by the standards of the conventional practice of the day—Stanislavski felt it was under-rehearsed.<ref>Benedetti (1999a, 85), Braun (1982, 64), and Carnicke (2000, 12).</ref> The production's success was due to the fidelity of its delicate representation of everyday life, its intimate, [[Ensemble cast|ensemble playing]], and the resonance of its mood of despondent uncertainty with the psychological disposition of the Russian intelligentsia of the time.<ref>Allen (2000, 20–21) and Braun (1982, 64).</ref>

Stanislavski went on to direct the successful premières of Chekhov's other major plays: ''[[Uncle Vanya]]'' in 1899 (in which he played Astrov), ''[[Three Sisters (play)|Three Sisters]]'' in 1901 (playing Vershinin), and ''[[The Cherry Orchard]]'' in 1904 (playing Gaev).<ref>Benedetti (1999a, 386), Braun (1982, 65–74), and Leach (2004, 13–14). Stanislavski also played Shabelski in the MAT's production of Chekhov's ''[[Ivanov (play)|Ivanov]]'' in 1904.</ref> Stanislavski's encounter with Chekhov's drama proved crucial to the creative development of both men. His ensemble approach and attention to the psychological realities of its characters revived Chekhov's interest in writing for the stage, while Chekhov's unwillingness to explain or expand on the text forced Stanislavski to dig [[Subtext|beneath its surface]] in ways that were new in theatre.<ref>Benedetti (1989, 25–26). By 1922, Stanislavski had become disenchanted with the MAT's productions of Chekhov's plays—"After all we have lived through", he remarked to Nemirovich, "it is impossible to weep over the fact that an officer is going and leaving his lady behind" (referring to the conclusion of ''[[Three Sisters (play)|Three Sisters]]''); quoted by Benedetti (1999a, 272).</ref>

[[File:1900_yalta-gorky_and_chekhov.jpg|thumb|left|250px|[[Anton Chekhov]] (''left''), who in 1900 introduced Stanislavski to [[Maxim Gorky]] (''right'').<ref>Braun (1988, xvi) and Magarshack (1950, 201, 226).</ref>]]

In response to Stanislavski's encouragement, [[Maxim Gorky]] promised to launch his playwrighting career with the MAT.<ref>Benedetti (1999a, 119), Braun (1988, xvi) and Magarshack (1950, 201–202).</ref> In 1902, Stanislavski directed the première productions of the first two of Gorky's plays, ''The Philistines'' and ''[[The Lower Depths]]''.<ref>Benedetti (1999a, 119–131), Braun (1988, xvi—xvii), Magarshack (1950, 202, 229, 244), and Worrall (1996, 131). Nemirovich took over the direction of ''The Lower Depths'' during its rehearsal process and the two directors disagreed on the correct approach to the play; neither of their names appeared on its posters and Nemirovich claimed all the credit for its success.</ref> As part of the rehearsal preparations for the latter, Stanislavski took the company to visit [[Khitrovka|Khitrov Market]], where they talked to its down-and-outs and soaked up its atmosphere of destitution.<ref>Benedetti (1999a, 127–129). [[Viktor Simov]], the company's scenic designer, based his designs for the production on photographs taken during the trip. Several photographs of the production, taken in 1904, appear in Dacre and Fryer (2008, 34–37).</ref> Stanislavski based his characterisation of Satin on an ex-officer he met there, who had fallen into poverty through gambling.<ref>Benedetti (1999a, 127).</ref> ''The Lower Depths'' was a triumph that matched the production of ''The Seagull'' four years earlier, though Stanislavski regarded his own performance as external and mechanical.<ref>Benedetti (1999a, 130), Braun (1988, xvii—xviii) and Magarshack (1950, 202, 244).</ref>

The productions of ''The Cherry Orchard'' and ''The Lower Depths'' remained in the MAT's repertoire for decades.<ref>Houghton (1973, 8).</ref> Along with Chekhov and Gorky, the drama of [[Henrik Ibsen]] formed an important part of Stanislavski's work at this time—in its first two decades, the MAT staged more plays by Ibsen than any other playwright.<ref>Worrall (1996, 36).</ref> In its first decade, Stanislavski directed ''[[Hedda Gabler]]'' (in which he played Løvborg), ''[[An Enemy of the People]]'' (playing Dr Stockmann, his favorite role), ''[[The Wild Duck]]'', and ''[[Ghosts (play)|Ghosts]]''.<ref>Benedetti (1989, 23) and (1999a, 386–387) and Meyer (1974, 529–530, 820).</ref> "More's the pity I was not a Scandinavian and never saw how Ibsen was played in Scandinavia," Stanislavski wrote, because "those who have been there tell me that he is interpreted as simply, as true to life, as we play Chekhov".<ref>Quoted by Meyer (1974, 820–821).</ref> He also staged other important Naturalistic works, including [[Gerhart Hauptmann]]'s ''[[Drayman Henschel]]'', ''Lonely People'', and ''Michael Kramer'' and [[Leo Tolstoy]]'s ''[[The Power of Darkness]]''.<ref>Benedetti (1999a, 386), Braun (1982, 61, 73), Counsell (1996, 26–27), Gordon (2006, 37–38, 45), Leach (2004, 10), Innes (2000, 54).</ref>