Yevgeny Vakhtangov

Vakhtangov was born to an Armenian father and a Russian mother in Vladikavkaz, Terek Oblast (now the capital of Northern Ossetia).{{cite book|last=Malaev-Babel|first=Andrei|title=Yevgeny Vakhtangov: A Critical Portrait|publisher=Routledge|isbn=9781136979552|page=10|year=2013}} He was educated at Moscow State University for a short time before joining the Moscow Art Theatre in 1911.

Vakhtangov rose in the ranks at the Moscow Art Theatre, and by 1920 he was in charge of his own theatre studio. Four years after his death, the studio was named Vakhtangov Theatre in his honor.

Vakhtangov was greatly influenced both by the theatrical experiments of Vsevolod Meyerhold and the more psychological techniques of his teachers, Konstantin Stanislavski and Leopold Sulerzhitsky, and the co-founder of the MAT Vladimir Nemirovich-Danchenko. His productions incorporated masks, music, dance, abstract costume, avant-garde sets as well as a detailed analysis of the texts of plays and the psychological motivations of its characters.

On the Actors Studio webpage, Lee Strasberg is quoted as saying: "If you examine the work of the Stanislavski System as made use of by Stanislavski, you see one result. If you examine it in the work of one of his great pupils, Vakhtangov — who influenced our thinking and activity — you will see a completely different result. Vakhtangov's work was skillfully done, his use of the Method even more brilliant and more imaginative than Stanislavski’s, and yet Vakhtangov achieved totally different results."

The German theatre practitioner Bertolt Brecht argued that Vakhtangov's approach was "the Stanislavski-Meyerhold complex before the split rather than its reconciliation". Brecht outlined the main aspects of Vakhtangov's work as:

1. Theatre is theatre.
2. The how, not the what.
3. More composition.
4. Greater inventiveness and imagination.

File:Princess Turandot - 1922.jpg´s Princess Turandot, performance by Yevgeny Vakhtangov (1922)]]

He identifies a commonality with his own 'demonstrating' element in acting, but argues that Vakhtangov's method lacks the social insight and pedagogical function of Brecht's own Gestic form: "when Vakhtangov's actor says 'I'm not laughing, I'm demonstrating laughter', one still doesn't learn anything from his demonstration".From a note probably written in the 1930s. See Brecht (1964, 237-238).

His most notable production was Princess Turandot,{{cite web | title=Princess Turandot (1922) / Eug. Vakhtangov Theatre | website=Eug. Vakhtangov Theatre | url=https://vakhtangov.ru/en/show/printsessaturandot/ | language=ky | access-date=13 December 2021}}{{cite web | last=Malaev-Babel | first=Andrei | title=Yevgeny Vakhtangov: A Critical Portrait | website=Critical Stages/Scènes critiques | date=8 April 2016 | url=https://www.critical-stages.org/10/yevgeny-vakhtangov-a-critical-portrait/ | access-date=13 December 2021}} based on the play Turandot by Carlo Gozzi, which has played at the Vakhtangov Theatre ever since 1922 (the year of his death).

Another famous production directed by Vakhtangov in the same year was S. An-sky's The Dybbuk with the Habimah theater troupe.

Vakhtangov died of cancer. The later part of his career took place at a high point of Russian theatre, amidst the Bolshevik Revolution and Civil War.

In 2017, film director Qmars Mootab made a documentary film about him, Vakhtangov.{{Cite web|url=https://www.imdb.com/title/tt13775438/reference/|title=Vakhtangov (2017) - Reference View - IMDB|website=IMDb }}

• Евгений Вахтангов. Документы и свидетельства: В 2 т. / Ред.-сост В.В. Иванов; ред. М.В. Львова, М.В. Хализева. М.: Индрик, 2011. Т. 1 – 519 с., илл.; Т. 2 – 686 с., илл.
• Евгений Вахтангов в театральной критике / Ред.-сост. В.В. Иванов. М.: Театралис, 2016. – 703 с.; илл.

{{Reflist}}

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• Vladislav Ivanov. S. An-sky, Evgeny Vakhtangov and The Dybbuk // The worlds of S. An-sky. A Russian Jewish Intellectual at the Turn of the Century / Ed. by Gabriella Safran and Steven J. Zipperstein. California, Stanford. Stanford University Press, 2006. P. 252–265, 480–481.
• Владислав Иванов. Евгений Вахтангов и Михаил Чехов. Игра на краю или театральный опыт трансцендентального // Русский авангард 1910–1920-х годов и проблема экспрессионизма / Редкол.: Ю.Г. Коваленко и др. М.: Наука, 2003. С. 464–478.
• Brecht, Bertolt. 1964. Brecht on Theatre: The Development of an Aesthetic. Ed. and trans. John Willett. British edition. London: Methuen. {{ISBN|0-413-38800-X}}. USA edition. New York: Hill and Wang. {{ISBN|0-8090-3100-0}}.
• Carnicke, Sharon M. 1998. Stanislavsky in Focus. Russian Theatre Archive Ser. London: Harwood Academic Publishers. {{ISBN|90-5755-070-9}}.
• Malaev-Babel, Andrei. 2011. The Vaktangov Sourcebook. Ed., trans. and with an Introduction by Malaev-Babel, Andrei. New York: Routledge. {{ISBN|978-0-415-47268-5}}.
• Farber, Vreneli, 2008. Stanislavsky in Practice: Actor Training in Post-Soviet Russia (Artists & Issues in the Theatre, Vol. 16. New York: Peter Lang. {{ISBN|978-1-4331-0315-5}}) (summary of Vakhtangov's ideas and their application in post-Soviet actor training) {{ISBN|978-1-4331-0315-5}}

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{{Commons category|Yevgeny Vakhtangov}}

• [http://www.vakhtangov.ru/ Official site of the Vakhtangov Theatre]
• [http://novodevichye.com/vakhtangov/ Yevgeny Vakhtangov's grave]

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Category:1883 births

Category:1922 deaths

Category:20th-century Russian actors

Category:People from Vladikavkaz

Category:People from Terek Oblast

Category:People from the Russian Empire of Armenian descent

Category:Male actors from the Russian Empire

Category:Method actors

Category:Theatre directors from the Russian Empire

Category:Modernist theatre

Category:Moscow Art Theatre

Category:Theatre practitioners

Category:Burials at Novodevichy Cemetery

Category:Soviet theatre directors