630:(the future renowned psychologist, then a theatre critic) made much of the text's sparseness which enabled the cast to create the masterpiece of their own out of it. "The play, totally non-engaging in itself, enjoys total re-birth in theatre... turning into something quite captivating. Somehow all its weaknesses disappear, the author's personality vanishes, and all the things 'underwritten' and only sketched get a new life on stage... In through those holes left by the author unfilled, the actors bring in each something of their own." The critic described the production as the great victory of the Second Studio over "this stiltedness that has become common for all children's parts in theatre... The major secret of the Green Ring, according to the author, is the 'joy of togetherness', and that is exactly what the secret of this whole production turned out to be," the critic asserted.
231:, in which the very young Savina excelled as Verochka, notably in her 1879 benefit showcase. Not only did Gippius' play look like a development of Turgenev's ideas concerning the right of the youngsters to make their own decisions in life, but it was also close to it stylistically, having been described as the psychological drama with elements of satire and featuring fragments written as if they were pieces of prose. Also, the play's storyline echoed those of the Christmas tale "Young Heroine" (Маленькая героиня) by the children's author
596:) while giving the author some credit for championing the notions of personal freedom and 'lenience’, as well as "having faith in the unity of the people," considered the play 'schematic' and 'tendentious'. This, in her opinion, prevented Meyerhold from "making the action look as real and simple as, apparently, the author might have wished to see it." The similar view was expressed by Elena Koltonovskaya who noted that the play, "written by a gifted and intelligent author," was still 'concocted', 'arty' and far removed from reality.
391:. The premiere, according to Gippius, was "nothing out of the ordinary. Some were raving with delight, others spat hatred, and the press got berserk. Gippius, Meyerhold, Savina! - what's not to get mad over, especially when the censorship is so fierce, there is little else to write about?.. Savina played of course her own heroine, not mine, but did it brilliantly." The author (like many reviewers) noted the extraordinary Second Act with its masterfully staged 'youth assembly'.
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expressed great regret with the fact that she failed to see the production which, she knew from many people who wrote to her "something quite outstanding." "There it was a completely different matter, for the real 17-year-old teenagers were engaged in it... We were sent photographs, invitations to their 100th run but how could we, in the times like those?" she wrote in her memoirs.
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domestic hell the girl who is now in such a bad way that she steals her mother's revolver, even if still being unsure, apparently, as to how she's going to use it. More distress is caused when
Vozhzhin tells Anna Dmitriyevna that's he is through with her, while the girl is shocked to learn that her father has a lover who lives next door.
636:, writing in 1922, praised the play (which he called 'bizarre') as highly exiting and original, "defying aesthetic characterizations." He found the charm of the play in its "overwhelming sense of direction," with "the author's soul engaged in a flight." " disgust with the of 'marriage and famuily' is so sheer and intense in
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character to add to her gallery." In
Alexandrinka, the director failed to build anything 'revolutionary' out of this material. Instead, it flourished in the Moscow Art Theatre's Second Studio production, where the directors and young cast used its sparseness to the full extent, according to the (then) art critic
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Alexey
Gvozdev criticized the author's "cold, strictly intellectual approach to life, which freezes the thought lifeless in abstract schemes," and "the false joys of optimistic hope for 'happy Renaissance'," – the drawbacks which in his opinion "stifled even the possibility of there being created in
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The boys and girls of the Green Ring are engaged in earnest (even not entirely congruous) discussions, trying to find their own ways to sort out their future. Determined to break up with the corrupt world they live in, they decide they should be 'lenient' and 'merciful' towards the old and will build
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The Green Ring, a play about 'fathers and sons' of the new generation, was written in
January 1914. In 1933 Gippius remembered: "It was about the pre-War youth, the teenagers of the time. The concocted storyline aside, it all came out of my own communication with the young people of Saint Petersburg,
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is the joy of the social instinct." The
Russian literary historian Irina Arzamastseva analyzed the play in the context of her own concept of "Three ages of a Russian Schoolgirl" (that was how she called her essay), trying to trace the development of a Russian woman from the Turgenev type of the 1840
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Several reviewers, including
Gurevich, noted the way Meyerhold had for once abandoned his experimentations and, by trying to totally serve the purpose of the play, has probably saved the production from being the utter disaster. The second act with its impressive scene of the whole of the Green Ring
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This, as well as a host of smaller matters, gave the press a lot to insinuate about. More ominous and significant, bearing in mind the political context, was the 'German factor'. In the days when another wave of anti-decadence campaign (and
Gippius's reputation of a 'decadent' lingered on) coincided
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Finally, the Ring hits upon a radical solution for
Finochka's troubles: she is to enter the marriage of convenience with Uncle Mika, her father's flatmate. This way she will be able to stay with her dad, attend regularly the meetings of the Green Ring (which she's turned dependent on, too) and bring
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She confided her doubts to Alexey
Stakhovich, cast in the role of Uncle Mika, who in turn got much distressed, by the fellow veteran's failure to see how perfectly the angular 'ugly duckling' fitted into the role. Indeed, Finochka had to be a 'perfect androgyn', in equal parts childish, womanly and
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for
Gippius looked like an attempt to finally implement her own views on how the new generation of young people should be portrayed on stage. "In this respect Finochka looks like the lost child of Chekhov's last dysfunctional loafers, a daughter of 'the eternal student' and the degraded landlady ,"
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who'd read my play (which Meyerhold had sent her) decided she was eager to have a part in it!.. There was not much to play for her in it, the part of an ageing youngish mother was small and confined to just one single act, although it was hardly an easy one... But whatever the queen of Alexandrinka
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Tarasova's performance, lauded by the critics, kickstarted what has been described as 'The Finochka Cult' in Moscow. "Never in my life have I seen such an embodiment of clarity, serenity and chastity on stage. Her quiet grey eyes looked straight into the soul of mine. And that was not just myself:
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Central to the history of this production was the inspired performance given by the 18-year old Alla Tarasova, whose choice for the role of Finochka, the emotionally troubled heroine, proved to be a contentious issue right from the start. Greatly disappointed with it was, for one, Nina Litovtseva,
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Finochka, shaken by the scandal given her by jealous Elena Ivanovna who hates the idea of being left alone (and whose 'suicide' now appears to be more like a 'botched fake', intended to draw sympathy from her ex-husband) is eagerly accepted by the Ring. Its members are now keen to help out of the
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and the Alexandrinka cast started to rehearse the play, the major setback occurred. The play had to be taken through the Theatrical Committee. "Since Merezhkovsky was a member of it in Saint Petersburg, we sent it anonymously to its Moscow department. To our utter amazement the local old geezers,
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ran in the Moscow Art Theatre up until 1922, which was in itself remarkable, considering that Stakhovich had committed suicide, outraged by the atrocities of the new regime, and the Merezhkovskys left the country in December 1919 to become extremely harsh critics of the Bolsheviks. Gippius later
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Savina, not just a turn of the centuries Russian theatre superstar, but also the legendary 'Turgenev's last true love' has been following Stanislavski throughout the 1900s trying (unsuccessfully) to convince him she could be useful to his MAT troupe, making much of her 'Turgenev connection'. Her
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Uncle Mika, slowly succumbing to his young friends' scheme, is torn by conflicting emotions. Marveling at how his teenage friends have decided his fate for him, he still wonders if this new generation of 'idealists' whom he'd been doting on (and always expressed his desire to be 'useful' to),
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Savina insisted upon meeting the author and, much to Gippius surprise, subjected her to detailed questioning as to the nature of her character. "Apparently Gippius' play had awakened in her deep memories of the youth spent in a dysfunctional family, with her own mother, no dissimilar to Elena
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as a "dream play", consciously 'underwritten' so as to provide little more than guidelines "for actors yet unborn..." According to the author, "Meyerhold totally understood , while Savina perceived the play as nothing more than a chance to grab this precious part and create another beautiful
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According to Arzamastseva, a host of hidden conflicts and undercurrents marked this rather troubled Alexandrinka production. The part of the 16-year-old Finochka was somewhat inexplicably given to Alexandrinka's second prima, Ekaterina Roshchina-Insarova, who was 32 at the time. It was her
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She arrives at Moscow (with her mother who needs medical treatment) and visits her father Vozhzhin in his place which he shares with a middle-aged journalist friend Uncle Mika. The latter has no place of his own, "has lost interest in life" and now seeks solace in co-hosting a circle of
259:), a former army general, much admired by both Stanislavski and the young generation of actors. Outraged by the 1917 Bolshevik coup, he hung himself in 1919. "He was followed to his last resort mostly by youngsters, and among them were the young members of the Second Studio, his very own
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schoolchildren, friends of Seryozha (the son of Vozhzhin's female partner Anna Dmitriyevna who lives next door) and his own niece Rusya, calling themselves The Green Ring. Finochka arranges for her parents' meeting, Vozhzhin is determined now that the girl should live with him.
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Gippius too, apparently, had her own old 'unsettled scores' with Stanislavki in mind. In 1904, as Anton Krainy, she panned both Alexandrinka and Moscow Art Theatre for what she saw as their 'overdramatized' attitude towards Russian classics. She chose the Stanislavski-directed
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While the contemporary critics' reaction was in many ways determined by the political climate in Russia at the time, more recent reviewers approached it bearing a broader social and artistic context in mind. According to Temira Pachmus, "The central idea and the secret of
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and behave without proper respect to their elders," Gippius wrote in her 1933 memoirs. "This was scandalous. The director instantly wanted to see this joke of a protocol, we started to think of how to appease these old men with as little fuss as possible. Then the
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who played the girl's mother. Giving credit to the young Tarasova as being an undeniably gifted actress, she still deemed her unattractive and cold, wanting in charisma, something that many 'charmful' young actresses of the Second Studio had in abundance.
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Shverubovish, Vadim. On the Artistic Youth of Alla Tarasova. The Old Art Theatre // Шверубович В.В. О творческой юности Аллы Константиновны Тарасовой // Шверубович В.В. О старом Художественном театре / Вступ. статья В.Я. Виленкина. М.: Искусство, 1990
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having the Elena Ivanovna's part in the Alexandrinka's production promised to become a statement of defiance and provide the final chord to her artistic career. Indeed, this happened to become the final part for the actress, who died in November 1915.
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The Second Studio premiere was a triumph, according to the actor and the Studio administrator Vsevolod Verbitsky. "The public for five minutes was calling for the director, but , being an extremely shy man, preferred to hide away," he remembered.
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Ivanovna," the theatre historian Irina Arzamastseva suggested. Gippius enjoyed these conversations a lot. In her memoirs on Savina she remarked how off-stage the actress was so much more intriguing and exciting than even when actually acting.
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hundreds, then thousands of people rushed to MAT to see her on stage and soon it seemed as if the whole Moscow has fell under the spell of Tarasova's Finochka," the theatre critic Vadim Shverubovich remembered.
557:(Stockbroker's News) suggested that "the opinions will be polarized due not to the generations' divide portrayed in the play, but rather the schism that exists in the public and among the so-called critics."
488:. The Mchedelov-directed project in which all the teenagers' parts were to be played by real teenagers, looked from the start like a doomed affair. All the more astounding was its enormous success.
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Vsevolod Verbitsky. The Second Studio. Memoirs's extracts // Вербицкий В. А. Вторая студия. Из воспоминаний // Ежегодник Московского Художественного театра. 1946 г. — М., 1948. — С. 523—556.
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which Meyerhold (another German) directed in 1907. The attacks from the 'patriotic' camp continued throughout the play's run in Alexandrinka. The final straw was provided by the article in
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with the wave of jingoistic feelings, with calls being given in the press to throw all ethnic Germans out of Russia, the play by Gippius (who was half-German) looked close to Wedekind's
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The play divided the critics the majority of whom left negative reviews, although later, in retrospect, it received a more sympathetic treatment. This had been predicted by
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totally succeeded both in "highlighting all the most urgent questions" and "suggesting the new, exciting answers, providing the material for endless discussions."
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who, while ignoring the play as such, launched a personal attack on the Merezhkovskys and Filosofov. After that the play was performed only once, on 22 April.
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The inclusion of it in the repertoire was itself a controversial decision, for the material differed radically from two other children's play that it had,
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Pachmus T. Zinaida Gippius. An Intellectual Profile. Southern Illinois University Press, Carbondale and Edwardsville, 1971. Pp. 189—190
822:// Sobkin V.S., Mazanova V.S. Comments on L.S. Vygotsky's Theatrical Reviews. Cultural and Historical Psychology 2014. Vol. 10, no. 3
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called the play "faulty, dull and talentless," while A. Chebotaryova described it as "mawkish, preposterous and tendentious."
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meeting, masterfully staged by the director, has been seen by many as the centerpiece of the production at the Alexandrinka.
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673:. Russkaya Kniga. The Works by Zinaida Gippius in 15 volumes. Vol. 4. Moon Ants. Stories and plays. Moscow, 2001
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was not the first Russian play to feature troubled teenagers. Its 'spiritual' predecessor was considered to be
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while praising its literary merits, refused to accept it as 'immoral', on the grounds that children there read
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with Elena Ivanovna, her neurasthenic mother, slowly recuperating after a botched suicide attempt.
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broke out, everything turned upside down, I stopped even thinking of plays," she remembered in her
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masculine, full of well-balanced inner strength. Tarasova was exactly that," argued Arzamastseva.
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In Alexandrinka the 16-year-old Finochka was played by the 32-year-old Ekaterina Roschina-Insarova
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haven't turned a bit too pragmatic for his liking, by inventing for him such a peculiar 'use'.
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interpretation of the part, bearing strong resemblance to Savina's 1880s Verochka from
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On 7 December 1916 The Moscow Art Theatre Second Studio opened with the premiere of
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718:// Три души провинциальной гимназистки (пьеса З.Н. Гиппиус «Зеленое кольцо»).
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806:Буренин В. Торжество провала // 1915. № 14044. Новое время. 17 (30) апреля.
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up their own new world having taken from the past only things that matter.
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demands, is hers for the taking! And the whole thing has got a re-start."
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of memoirs. "...Then, before Christmas, something extraordinary happened.
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as Petya, and Nina Litovtseva as Elena Ivanovna, among others.
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as an example, concentrating on this play's young characters.
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expressed his attitude towards the production by calling his
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151:, opened on 7 December 1916. The play was first published in
796:Бриллиант, оправленный в хомут. Мария Савина и Иван Тургенев
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In her Afterword to the 1916 Ogni edition Gippius described
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her own mother in too, so that she won't be left alone.
786:М.Цветаева. Собр. соч.: В 7 т. Т. 4. М., 1994. С. 498.
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The Three Souls of a Russian Provincial Gymnasium Girl
938:(Voice of Life) // Голос жизни. 1915. 11 марта. No 11
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review "The Triumph of Failure" (Торжество провала).
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902:(New Times)/Новое время. 1915. 17 апр. No 14044
545:that buried the Alaxandrinka production in 1915
314:, an engineer, Uncle Mika's friend and flatmate
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950:// Петроградская газета. 1915. 18 февр. No 48
739:. З. Н. Гиппиус. Арифметика любви (1931-1939)
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852:On the People, Theatre and Myself
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576:"completely unripe play" while
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890:/ Отечество. 1915. No. 5/6
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997:. The Green Ring at the
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622:Writing for Gorky's
1088:Dmitry Merezhkovsky
555:Birzhevye Vedomosti
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209:The Green Ring
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117:Зелёное кольцо
109:The Green Ring
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1081:Miscellaneous
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247:Plot summary
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172:Maria Savina
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108:
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1001:. (Russian)
1116:1916 plays
1110:Categories
888:Otechestvo
653:References
543:Green Ring
486:Tom Sawyer
305:Uncle Mika
299:Characters
261:Green Ring
159:Background
50:1915-02-18
33:Written by
876:Nashi Dni
743:16 August
563:Nashi Dni
194:Blue Book
153:Petrograd
122:romanized
90:Realistic
1094:Novy Put
968:16 April
841:633—634.
677:16 April
599:Another
482:Firebird
364:Marfusha
360:Mathylda
354:Valeryan
336:Finochka
330:Seryozha
312:Vozhzhin
624:Letopis
572:called
273:Saratov
124::
113:Russian
99:Setting
78:Subject
72:Russian
48: (
523:Prague
519:Warsaw
198:Savina
143:. The
1049:Works
924:Retch
912:Retch
601:Retch
594:Retch
527:Paris
342:Rusya
185:Hegel
93:drama
86:Genre
970:2016
745:2016
679:2016
592:(in
521:and
484:and
362:and
348:Nike
430:by
263:,"
239:by
225:'s
217:by
190:War
1112::
811:^
753:^
723:^
687:^
660:^
446:.
119:,
115::
1034:e
1027:t
1020:v
972:.
768:.
747:.
681:.
111:(
52:)
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