130:
122:
520:
25:
374:, the collaboration proved unfruitful. Meyerhold failed to create a role that catered to Komissarzhevskaya's acting style, a mixture of intense emotional sensitivity with high theatrical seriousness. She dismissed him after just one year, and spent the remainder of her career touring old productions in the United States and Europe, an attempt to raise enough money to pay for the enormous debt she had amassed.
144:
256:, but preferred to keep her stage name even after the marriage. Some years later, she was broken-hearted to discover that her sister was pregnant with Muravyov's child, and she left him, throwing herself into her acting career. In 1891, she played the role of Betsy in the first Russian production of
305:
Komissarzhevskaya was not alone in embracing new ideas for she lived during a time of transition. And like the changing times in which she lived, her performance of self changed greatly and frequently during her lifetime. Reacting consciously and subconsciously to a variety of factors in her history
233:
Vera!? To say that she is often in my thoughts... would be an understatement, for never a moment passes without my thinking of her! My whole being rests on my feelings and my thoughts about her. She is to my spirit what air is to physical existence! Human being, friend, daughter, sister, family
415:
Her unexpected death in 1910 became a major public event and media sensation, prompting an enormous outpouring of mourning throughout the
Russian Empire and extensive commentary in the press that demonstrated her significant social resonance and place in debates on pressing concerns animating late
354:
Komissarzhevskaya shared prominence with renowned actress
Marriia Ermolova and Marriaa Savina, and although a much less flamboyant personage than colleague theatre entrepreneur Lidiia Iavorskaia, Kommissarchevskias Dramatic Theatres (1904-09) were acclaimed as St Petersburg's practical and
129:
242:, a famous theatrical director in his own right. Fyodor actually educated both Vera and Theodore in the art of acting from an early age. Fyodor was a respected acting teacher with many other successful students, such as Konstantin Stanislavsky.
251:
298:(1897). The production was initially unsuccessful, with Komissarzhevskaya being heckled by the audience so extremely, that she lost her voice during opening night of the production. However, the rest of the run proved successful, and
411:
Reactions to
Komissarzhevskaya's death demonstrate the social importance of ideas of sincere emotion and authentic selfhood as part of a larger search for transcendent individuals in the late imperial public sphere.
205:. During their short-lived collaboration, the two managed to develop Meyerhold's symbolist aesthetic and Komissarzhevskaya herself starred in two of the most critically and commercially successful productions.
358:
Tiring of the nineteenth-century theatre's routine scenarios and the dominant naturalistic trends of the time, however, Komissarzhevskaya boldly extended an invitation to the young director
229:. Komissarzhevskaya had a close relationship with her father, and she frequently corresponded with Komissarzhevsky. Towards the end of his life, he wrote to Mariya Nikolaevna, saying:
246:
588:
583:
558:
400:. One of the major theatres of St. Petersburg still bears her name and, in 1980 there was even a biographical film made about the actress' life and career called,
202:
593:
405:
568:
89:
563:
170:
61:
42:
578:
68:
462:
396:
in 1910, her funeral was attended by vast crowds of mourners, and even occasioned some poignant lyrics from the
Russian poet
573:
225:, and her mother, Mariya Nikolaevna Shulgina, was the daughter of General Nikolai Shulgin, a war hero and officer in the
75:
309:
In 1904, Komissarzhevskaya founded her own theatre in Saint
Petersburg, where she appeared in productions of Chekhov's
489:
108:
218:
57:
306:
and personal makeup, she changed her persona, her perceivable self to optimize her chances of success in life.
288:. Perhaps her greatest triumph at the Alexandrinsky however, was the role of Nina Zarechnaya in the premiere of
190:
in 1896. Though the production was deemed an utter failure, Komissarzhevskaya's performance was highly praised.
162:; 8 November 1864 – 23 February 1910) was one of the most celebrated actresses and theatre managers of the late
46:
553:
193:
Later in her career, Komissarzhevskaya became notable for her patronage of the up-and-coming theatre artist,
479:
262:
238:
This commitment to his daughter's life and work was a testament to her favor, as her half-brother was
82:
226:
173:. She is probably best known today for originating the role of Nina in the ill-fated premiere of
167:
121:
35:
362:. Though they found some success with Komissarzhevskaya starring in the title roles of Ibsen's
239:
217:, into a wealthy and distinguished family. Her father was the celebrated Russian opera singer
528:
452:
267:
183:
548:
543:
8:
519:
392:
Even after her exit from Russia, Komissarzhevskaya's fame was such that when she died of
326:
279:
197:. Following Meyerhold's unsuccessful attempts to stage symbolist plays at Stanislavsky's
378:"I am always searching for the new form, the new dramatic idea and the new inspiration."
359:
198:
194:
266:
under the direction of
Stanislavsky. In 1896, she began working at Saint Petersburg's
514:
485:
458:
347:
275:
222:
135:
214:
187:
155:
438:
A Triptych from the
Russian Theatre: An Artistic Biography of the Komissarzhevskys
370:
284:
397:
166:. She made her professional debut in 1893, after having acted as an amateur at
163:
537:
311:
289:
174:
364:
317:
294:
257:
178:
508:
143:
322:
355:
theoretical cousin to
Konstantin Stalnivisky's Moscow Arts Theatre.
24:
393:
201:, Komissarzhevskaya invited him to try his experiments at her new
336:
331:
341:
245:
At the age of 19, Komissarzhevskaya married the painter Count
589:
19th-century businesspeople from the
Russian Empire
49:. Unsourced material may be challenged and removed.
584:19th-century businesswomen from the Russian Empire
535:
559:Infectious disease deaths in the Russian Empire
450:
234:— everything is concentrated in her alone...
518:
431:
429:
481:Makers of Modern Theatre: An Introduction
444:
109:Learn how and when to remove this message
435:
383:Komissarzhevskaya, in an interview with
142:
128:
120:
594:Theatre directors from Saint Petersburg
484:. New York: Routledge. pp. 76–87.
457:. New York: Routledge. pp. 28–32.
426:
536:
270:, performing in roles such as Rosy in
477:
471:
47:adding citations to reliable sources
18:
13:
16:Russian actress and theatre patron
14:
605:
569:Actresses from the Russian Empire
502:
152:Vera Fyodorovna Komissarzhevskaya
147:Komissarzhevskaya on a 1960 stamp
208:
160:Ве́ра Фёдоровна Комиссарже́вская
125:Komissarzhevskaya on a postcard.
23:
564:Actresses from Saint Petersburg
302:made Komissarzhevskaya a star.
34:needs additional citations for
404:("I am an actress"), starring
213:Komissarzhevskaya was born in
1:
579:19th-century theatre managers
451:Malaev-Babel, Andrei (2011).
419:
247:Vladimir Leonidovich Muravyov
171:Society of Art and Literature
440:. London: Hurst. p. 65.
7:
574:Burials at Tikhvin Cemetery
263:The Fruits of Enlightenment
133:Komissarzhevskaya as Nora,
10:
610:
454:The Vakhtangov Sourcebook
436:Borovsky, Victor (2001).
272:Battle of the Butterflies
221:, a leading tenor at the
168:Constantin Stanislavsky's
159:
58:"Vera Komissarzhevskaya"
227:Preobrazhensky regiment
478:Leach, Robert (2004).
390:
345:, and Nora in Ibsen's
240:Theodore Komisarjevsky
236:
219:Fyodor Komissarzhevsky
148:
140:
126:
376:
268:Alexandrinsky Theatre
231:
184:Alexandrinsky Theatre
146:
132:
124:
554:Deaths from smallpox
43:improve this article
327:William Shakespeare
280:Alexander Ostrovsky
385:The New York Times
360:Vsevolod Meyerhold
199:Moscow Art Theatre
195:Vsevolod Meyerhold
149:
141:
127:
464:978-0-415-47268-5
416:imperial Russia.
368:and Maeterlink's
278:and as Larisa in
276:Hermann Sudermann
223:Mariinsky Theatre
119:
118:
111:
93:
601:
527:
522:
496:
495:
475:
469:
468:
448:
442:
441:
433:
388:
255:
215:Saint Petersburg
203:Dramatic Theatre
188:Saint Petersburg
161:
114:
107:
103:
100:
94:
92:
51:
27:
19:
609:
608:
604:
603:
602:
600:
599:
598:
534:
533:
529:Brief biography
525:
505:
500:
499:
492:
476:
472:
465:
449:
445:
434:
427:
422:
389:
387:(March 1, 1908)
382:
371:Sister Beatrice
285:Without a Dowry
249:
211:
175:Anton Chekhov's
115:
104:
98:
95:
52:
50:
40:
28:
17:
12:
11:
5:
607:
597:
596:
591:
586:
581:
576:
571:
566:
561:
556:
551:
546:
532:
531:
523:
504:
503:External links
501:
498:
497:
490:
470:
463:
443:
424:
423:
421:
418:
398:Alexander Blok
380:
348:A Doll's House
210:
207:
164:Russian Empire
136:A Doll's House
117:
116:
31:
29:
22:
15:
9:
6:
4:
3:
2:
606:
595:
592:
590:
587:
585:
582:
580:
577:
575:
572:
570:
567:
565:
562:
560:
557:
555:
552:
550:
547:
545:
542:
541:
539:
530:
524:
521:
516:
512:
511:
507:
506:
493:
491:9780203487860
487:
483:
482:
474:
466:
460:
456:
455:
447:
439:
432:
430:
425:
417:
413:
409:
407:
406:Natalia Saiko
403:
399:
395:
386:
379:
375:
373:
372:
367:
366:
361:
356:
352:
350:
349:
344:
343:
338:
334:
333:
328:
324:
320:
319:
314:
313:
307:
303:
301:
297:
296:
291:
287:
286:
281:
277:
273:
269:
265:
264:
259:
253:
248:
243:
241:
235:
230:
228:
224:
220:
216:
209:Life and work
206:
204:
200:
196:
191:
189:
185:
181:
180:
176:
172:
169:
165:
157:
153:
145:
138:
137:
131:
123:
113:
110:
102:
91:
88:
84:
81:
77:
74:
70:
67:
63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
526:(in Russian)
510:Ya - aktrisa
509:
480:
473:
453:
446:
437:
414:
410:
402:Ya - aktrisa
401:
391:
384:
377:
369:
365:Hedda Gabler
363:
357:
353:
346:
340:
330:
316:
310:
308:
304:
299:
293:
283:
271:
261:
244:
237:
232:
212:
192:
177:
151:
150:
134:
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
549:1910 deaths
544:1864 births
318:Uncle Vanya
300:The Seagull
295:The Seagull
258:Leo Tolstoy
250: [
179:The Seagull
538:Categories
420:References
99:April 2022
69:newspapers
323:Desdemona
321:, and as
182:, at the
394:smallpox
381:—
337:Ophelia
332:Othello
290:Chekhov
156:Russian
83:scholar
517:
488:
461:
342:Hamlet
312:Ivanov
139:, 1904
85:
78:
71:
64:
56:
254:]
90:JSTOR
76:books
515:IMDb
486:ISBN
459:ISBN
315:and
62:news
513:at
339:in
329:'s
325:in
292:'s
282:'s
274:by
260:'s
186:in
45:by
540::
428:^
408:.
351:.
335:,
252:ru
158::
494:.
467:.
154:(
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
