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While staging a dramatization of Andrey Bely’s novel Petersburg at the MAT 2 (1924–25), he conducted experimental pedagogical work with the actors, teaching them to master the expressive potential of stage rhythm.
In 1926 he published an article titled “The Mystery of Creativity” about the problems of the craft of acting (2.80–82).
It is but one of many schools of acting that emerged in twentieth-century theatre, each of them possessing its own technical and methodological principles, and based on its own philosophy of theatre and artistic ideology.
Acting technique was determined by the theatrical model in question.
For this reason it is interesting to study a system developed in the twentieth century by an actor and for actors, because Michael Chekhov’s own acting, his theatrical theory, and his pedagogy, far from contradicting the aesthetics of the era of the director, once again confirm its predominance.
As foreign newspapers were delivered to Moscow via Riga and Wilna, they were frequently outdated and contained stale news, which resulted in the Russian tsar sending letters and embassies to deceased foreign monarchs.
Peter the Great replaced the Kuranty with the first printed newspaper in Russian, the Vedomosti.
In the seven years between these two key dates Chekhov played only three new roles (Hamlet, Ableukhov, and Muromsky), each of which, however, became an outstanding event in Russian theatre history.