On the First Studio of the MAT Artistic Philosophy and Esthetics
Stanislavsky’s plan) (by the way, do not leave for the Kamerny Theatre; they won’t even have a decent cemetery), then a historian will write, “The early twentieth century era was re‚ected in theatrical art, for the most part, in the choice of plays. German and Austrian plays no longer
pleased the short-sighted translators, as they failed to bring abundant royalties. The repertoire consisted predominately of the plays written by the representatives of those nations ghting against the Teutons.2 Preference was given to plays that awakened kind feelings and reconciled with the era’s nightmarish life. In that respect, the Studio of the Moscow Art Theatre was especially notable. Cute boys and girls (they were very young back then, eaglets of the Russian stage, so to speak) felt keenly the spiritual demands of their era’s Man.” This is what the historians will write, if they don’t feel lazy, as I do
now. If you do write a play and, we, young eaglets, perform it, then, of course, the historian will be obliged to mention you. Don’t do it, for God’s sake! Do not re‚ect the era! And, for the love
of God, do not leave for the Kamerny Theatre! Otherwise, the historian might write that our era was re‚ected in theatre by the fact that Geirot, tormented by the desire to re‚ect the era, de‚ected our trust in him as a faithful studio member. Your friend, rather well inclined toward you, Ye. Vakhtangov.