They discuss the approaches, techniques, work, biographical context, and contributions of
Konstantin Stanislavsky, Vsevolod Meyerhold, Nina Simonovich-Efimova, Yevgeny Vaktangov, Alexander Tairov, Michael Chekhov, Alexandra Remizova, Natalia Sats, Mar Sulimov, Anatoly Efros, Oleg Efremov, and Genrietta Ianovskaia.
In addition to sharing parallel life spans, Sigmund Freud (1856-1939),
Konstantin Stanislavsky (1863-1938), and A.C.
Chekhov's brother Mikhail, sister Maria, editor Suvorin, Nemirovich-Danchenko,
Konstantin Stanislavsky, Maxim Gorky, and Chekhov's wife, Olga Knipper, appear several times.
However, though Freud belittled the Russian-born Mirra as a former "comedienne," he did mention one accurate detail: that she had acted in
Konstantin Stanislavsky's celebrated Moscow Art Theater.
His discussion of play selection, principles of rehearsal, evaluation considerations, and other matters surrounding the professional staging of plays builds on the principles of
Konstantin Stanislavsky and Michael Chekhov and was also influenced by Bertolt Brecht.
Haldey also describes
Konstantin Stanislavsky and, to some extent, Vsevolod Meyerhold as Mamontov's disciples.
It would be invidious, of course, to leave the "father" of modern actor training
Konstantin Stanislavsky out of our discussion.
The theater was established in 1941, combining two musical theaters separately run by
Konstantin Stanislavsky and Vladimir Nemirovich-Danchenko, co-founders of the influential Moscow Art Theatre.