Vasily Vasilyevich Luzhsky (Russian: Ð'Ð°Ñ Ð¸Ð»Ð¸Ð¹
Ð'Ð°Ñ Ð¸Ð»ÑŒÐµÐ²Ð¸Ñ‡ Ð›ÑƒÐ¶Ñ ÐºÐ¸Ð¹, born Kaluzhsky,
ÐšÐ°Ð»ÑƒÐ¶Ñ ÐºÐ¸Ð¹; 31 December 1869, , â€" 2 July 1931, Moscow, USSR)
was a Russian, Soviet stage actor, theatre director and pedagogue,
associated with the Moscow Art Theatre.Born in Shuya, Vladimir
Governorate, to a merchant family, Kaluzhsky debuted in 1890 on stage
the Art and Literature Society, where he played 44 parts, some of
which were later repeated in MAT, including that of Sir Toby in
Shakespeare's The Twelfth Night. In 1898 he joined Konstantin
Stanislavski's original troupe and played Shuisky in the Moscow Art
Theatre's very first production, that of Tsar Fyodor Ioannovich by
Alexey K. Tolstoy. The same year he played Sorin in what came to be
recognized later as the groundbreaking production of Anton Chekhov's
The Seagull and soon became the first Russian performer of the part of
Prozorov in The Three Sisters.He was also the first performer of the
parts of Serebryakov (Uncle Vanya by Anton Chekhov, 1899), Andrey (The
Three Sisters, 1901) Bessemenov (The Philistines by Maxim Gorky,
1902), Bubnov (The Lower Depths by Gorky, 1902), Lebedev (Ivanov,
1904). In all, he had 64 parts in the Moscow Art Theatre and was a
co-director of its 23 productions. In the early 1910s Luzhsky read
drama at the Alexander Adashev's Drama Courses. He contributed to all
the MAT studios, arguably most successfully to
Nemirovich-Danchenko-led Music Studio, which also came to be known as
the Comic Opera.Stanislavski who knew Luzhsky from the days of their
youth, opined in his memoirs, that it was the "brilliant gift of
imitator" that had prevented him from developing into a great actor
which he had all the potential to become. He also praised Luzhsky as a
great organizer; it was usually at his dacha in Ivankovo that
designers and decorators assembled to work upon stage designs. Still,
Luzhsky's contribution to the theatre has never been properly
credited, according to Stanislavski, and "there was a lot of
bitterness left in him which comes through in his diaries which
remained unpublished," the theatre historian Inna Solovyova wrote.
Ð'Ð°Ñ Ð¸Ð»ÑŒÐµÐ²Ð¸Ñ‡ Ð›ÑƒÐ¶Ñ ÐºÐ¸Ð¹, born Kaluzhsky,
ÐšÐ°Ð»ÑƒÐ¶Ñ ÐºÐ¸Ð¹; 31 December 1869, , â€" 2 July 1931, Moscow, USSR)
was a Russian, Soviet stage actor, theatre director and pedagogue,
associated with the Moscow Art Theatre.Born in Shuya, Vladimir
Governorate, to a merchant family, Kaluzhsky debuted in 1890 on stage
the Art and Literature Society, where he played 44 parts, some of
which were later repeated in MAT, including that of Sir Toby in
Shakespeare's The Twelfth Night. In 1898 he joined Konstantin
Stanislavski's original troupe and played Shuisky in the Moscow Art
Theatre's very first production, that of Tsar Fyodor Ioannovich by
Alexey K. Tolstoy. The same year he played Sorin in what came to be
recognized later as the groundbreaking production of Anton Chekhov's
The Seagull and soon became the first Russian performer of the part of
Prozorov in The Three Sisters.He was also the first performer of the
parts of Serebryakov (Uncle Vanya by Anton Chekhov, 1899), Andrey (The
Three Sisters, 1901) Bessemenov (The Philistines by Maxim Gorky,
1902), Bubnov (The Lower Depths by Gorky, 1902), Lebedev (Ivanov,
1904). In all, he had 64 parts in the Moscow Art Theatre and was a
co-director of its 23 productions. In the early 1910s Luzhsky read
drama at the Alexander Adashev's Drama Courses. He contributed to all
the MAT studios, arguably most successfully to
Nemirovich-Danchenko-led Music Studio, which also came to be known as
the Comic Opera.Stanislavski who knew Luzhsky from the days of their
youth, opined in his memoirs, that it was the "brilliant gift of
imitator" that had prevented him from developing into a great actor
which he had all the potential to become. He also praised Luzhsky as a
great organizer; it was usually at his dacha in Ivankovo that
designers and decorators assembled to work upon stage designs. Still,
Luzhsky's contribution to the theatre has never been properly
credited, according to Stanislavski, and "there was a lot of
bitterness left in him which comes through in his diaries which
remained unpublished," the theatre historian Inna Solovyova wrote.
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