The Visual Poetics of Dmitry Krymov's Theatre Laboratory

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Notes

Russian-language commentary, interviews, videos and reviews about Krymov and his work are too numerous to list here. However, a representative sampling can be found by searching for Dmitry Krymov on the Internet.

Maria Punina, ‘Teatr Vizualnovo Obraza: Laboratoria Dmitria Krymova’ [The Theatre of Visual Images: Dmitry Krymov's Theatre Laboratory], (unpublished doctoral thesis, Russian Academy of Theatre Arts, 2009).

Krymov's portrait of John Paul II was commissioned by the Vatican as a birthday present for the Pope and is now part of the permanent collection at the Vatican Gallery.

Initially established in 1878 under the sponsorship of the Society of Music and Drama, revamped in 1922 by Meyerhold as the State Institute of Theatre Training (aka GITIS), and nowadays designated as the Russian Academy of Theatre Arts (aka RATI).

Dmitry Krymov, personal interview with the author, 20 June 2002.

Randy Gener, ‘All the World's a Pavilion’, American Theatre (September 2007), 30–5, 88–9 (p. 31).

Dmitry Krymov, unpublished interview with the author, 22 June 2009.

Punina, ‘Teatr Vizulanovo Obraza’, pp. 17–9.

Adrian Giurgea, ‘When Designer and Actor are One’, American Theatre (January 2009), 46–7, 146, 148 (p. 148).

John Freedman, ‘Chekhov Days Fest for 150th Birthday’, Moscow Times, 27 January 2010, http://rbth.ru/ articles/2010/01/27/27110chekhov.html

Marina Davydova, ‘RTLB.RU’, Russian Theatre Life in Brief, January 2008, http://www.rtlb.ru/page.php?id=634 [accessed 26 November 2010].

Sharon Carnicke, ‘The Knebel Technique: Active Analysis in Practice’, in Actor Training, ed. by Alison Hodge, 2nd edn. (London: Routledge, 2010), pp. 99–116.

See Anatoly Smeliansky, The Russian Theatre after Stalin (Cambridge: Cambridge University Press, 1999), pp. 58–70, 110–25.

See Anatoly Efros, The Joy of Rehearsal (Amsterdam: Peter Lang, 2006); The Craft of Rehearsal (Amsterdam: Peter Lang, 2007); Beyond Rehearsal (Amsterdam: Peter Lang, 2009) (my translations). See also Maria Shevtsova, The Theatre Practice of Anatoly Efros, Theatre Papers, 2nd series (Devon: Dartington College of the Arts, 1978).

Natasha Krymova's two-volume Mikhala Chekhova: Literaturnoye Naslediye [Michael Chekhov: Literary Heritage] (Moscow: Isskustvo, 1995) contains Chekhov's entire written legacy, the majority of which has not been translated into English at the time of this writing (January 2011).

Giurgea, ‘When Designer’, p. 47.

John Freedman, ‘Dmitry Krymov Designer's Theatre,’ TheatreForum 32 (2008), 13–8 (p. 15).

Ibid., p. 18.

Elinor Fuchs, The Death of Character: Perspectives on Theater after Modernism (Bloomington: Indiana University Press, 1996).

Peter Szondi, Theory of Modern Drama (Minneapolis: University of Minnesota Press, 1987 [1965]).

Quoted in David Barnett, ‘Christoph Marthaler: The Musicality, Theatricality and Politics of Postdramatic Direction’, in Contemporary European Theatre Directors, ed. by Maria M. Delgado and Dan Rebellato (Abingdon: Routledge, 2010), pp. 185–203 (p. 185).

Tori Haring-Smith, ‘Dramaturging Non-Realism: Creating a New Vocabulary’, Theatre Topics 13.1 (2003), 45–53 (p.46).

James Thomas, Script Analysis for Actors, Directors, and Designers, 4th edn. (Boston: Focal Press, 2009), pp. x-xi.

Aristotle, Poetics, ed. by Francis Fergusson, trans. by S. H. Butcher (New York: Hill and Wang, 1961), p. 63.

Ibid., p. 85.

Ibid., pp. 61–4.

Significantly, Krymov, Wilson and Kantor were visual artists before and/or during their work in the theatre.

Punina, ‘Teatr Vizulanovo Obraza’, p. 47. Also worth mentioning in this context is the resemblance between Krymov's painting, A Kiss before a Palette (Figure 1) and Escher's Drawing Hands January (1948), http://www.mcescher.com/ [accessed 10 February 2011].

Freedman, ‘Dmitry Krymov’, p. 4.

Eugenio Barba, ‘Dramaturgy and Montage’, in The Routledge Drama Anthology and Sourcebook, ed. by Maggie B. Gale and John F. Deeney (Abingdon and New York: Routledge, 2010), pp. 816–28 (pp. 820–21).