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Michael Chekhov Bibliography

Beevor, A. (2004) The Mystery Of Olga Chekhova, London:Viking/Penguin.


Bely, A. (1928) Veter s Kavkaza, Moskva: Federatsyia i Krug (A Wind from Caucaasus, Moscow).


Bely, A. (1982) ‘Menia udivlaet etot celovek…’ Pis’ma Andreia Belogo Mikhailu Chekhovu. Publikatsiya M.G. Kozlovoy. Vstrechi s proshlym. Vypusk 4. Moskva: Sovetskaya Rossiya (‘This man wanders me…’ Letters of Andrey Bely to Michael Chekhov. Published by M. Kozlova in Encounters with the past. Issue 4, Moscow).


Bendetti, J. (1991) The Moscow Art Theatre Letters, London: Methuen.


Birman, S. (1971) Sud’boi darovannye Vstrechi, Moskva: Iskusstvo.

(Encounters presented by the Destiny, Moscow)


Black, L. (1987) Michael Chekhov as actor, Director, and Teacher, Ann Arbor, MI:UMI Research Press.


Boleslvsky, R. (1933) Acting : The First Six Lessons, New York: Theater Arts Books.


Boner, G. (1994) Hommage an Michael Tschechow, Zurich: Werner ClassenVerlag Zurich.


Braun, E. (1995) Meyerhold: A Revolution in Theatre, London: Methuen.


Byckling, L.(2000) Mikhail Chekhov v sapadnom teatre I kino, S-Peterberg: Akademicheskiy Proekt (Michael Chekhov in Western Theatre and Movies, St Petersburg).


Carnicke, S. (1998) Stanislavsky in Focus, Netherlands: Harwood Academic Publishers.


Chamberlain, F. (2000) ‘Michael Chekhov on the Technique of Acting’, in Alison Hodge (ed.) Twentieth-century Actor Training, London: Routledge.


Chamberlain, F. (2004) Michael Chekhov, Routledge Performance Practitioners, London: Routledge.


Chaulet, F. Emmanuel. A Balancing Act, Starlight Acting Books, Gorham, ME.

Chekhov M. (1944-5) ‘Zhizn’ I vstrechi’ Novy Zhurnal. (‘Life and Encounters’ in The New Review) T. 7-11. New York.


Chekhov, M. (1983) ‘The Theatre of the Future” in The Drama Review. Volume 27. Number 4(T100). Winter 1983.


Chekhov, M. (1984) Michael Chekhov’s To the Director and Playwright.Compiled and written by Charles Leonard. New York:Limelight Editions.


Chekhov, M. (1988) ‘The Golden Age of the Russian Theatre’ in Alarums and Excursions. Volume 2, Los Angeles.


Chekhov, M. (1989) Uroki Mikhaila Chekhova v gosurdarstvennom teatre Litvy. 1932. Moskva:GITIS (The Lessons of Michael Chekhov in the Lithuanian State Theatre. 1932. Moscow.)


Chekhov, M. (1991) On the Technique of Acting, New York: Harper.


Chekhov, M. (1992) On Theatre and the Art of Acting: The Six-hour Master Class (recorded 1955: The Stage Society with The Guide by Mala Powers), New York: Applause Theater Books.


Chekhov, M. (1995) Literaturnoe nasledie. V 2 tomakh. Izdanie 2-e. Moskva: Iskusstvo. (literary Heritage in 2 volumes. 2nd edition. Moscow:Iskusstvo, Volumes 1 and 2.)


Chekhov, M. (2000a) ‘Pis’ma aktera k V.A. Gromovu’ (‘Michael Chekhov. Letters to V. Gromov’) in Mnemozina: Issue 2. Moscow: Editorial USSR.


Chekhov, M. (2000b) Lessons for Teachers of his Acting Technique, Ottawa: Dovehouse Editions.


Chekhov, M. (2002) To the Actor, London.: Routledge. Chekhov Theatre Studio. Dartington Hall (1936), London. (Booklet of the Chekhov Theatre Studio in Dartington Hall.)


‘The Chekhov Theatre Studio” in Theatre Arts Monthly. Oct. 1938. Volume XXII. Number 10.


Drama Review. Michael Chekhov, Volume 27, Number 3(T99), Fall 1983.

Edwards, C. (1966) The Stanislavski Heritage: Its Contribution to the Russian and American Theatre, London: Peter Owen.


Gauss, R. (1999) Lear’s Daughters: The Studios of the Moscow Art Theatre 1905-1927, New York: Peter Lang Publishing.


Gorchakov, N. (1994) Stanislavsky Directs, trans. Miriam Goldina, New York: Limelight Editions.


Gordon, M. (1988) The Stanislavsky Technique: Russia, New York: Applause.


Gromov, V. (1970) Michael Chekhov, Moskva: Iskusstvo. (Michael Chekhov, Moscow.)


Hethmon, R. (ed.) (1991) Lee Strasberg at the Actors Studio, New York: TGC.


Hodge, A. (ed.) (2000) Twentieth Century Actor Training, London: Routledge.


Hurst du Prey, D. (1992) ‘Michael Chekhov in England and America’ in Laurence Senlick (ed.) Wandering Stars, Russian Émigré Theatre, 1905-1940. Iowa Press.


Ivanov, V. (1992) ‘Michael Chekhov and Russian Existentialism’ in Laurence Senlick (ed.) Wandering Stars, Russian Émigré Theatre, 1905-1940. Iowa Press.


Kirillov, A. (1992) ‘Teatr Mikhaila Chekhova’ in Russkoe akterskoe iskusstvo XX veka, Vypusk 1 S. Peterburg: Rossiisky Institut Istorii Iskusstv (‘The Theatre of Michael Chekhov’ in Russian Acting Art in the Twentieth Century Issue 1, St Petersburg).


Kirillov, A. (1994) ‘Michael Chekhov-Problems of Study’ in Eye of the World. Issue 1, St Petersburg.


Kirillov, A. (2004) ‘Teatral’naya sistema Michaila Chekhova’(‘The Theatre System of Michael Chekhov’) in Mnemozina. Issue 3, Moscow: Arist. Rexhisser. Teatr.


Leach, R. (1993) Directors in Perspective: Vsevelod Myerhold, Cambridge: Cambridge University Press.


Leach, R. (1997) ‘When he touches your heart…: The revolutionary theatre of Vsevolod Meyerhold and the development of Michael Chekhob’ in Contemporary Theatre Review. Volume 7. Part 1.


Leach, R. (2004) Makers of Modern Theatre, London:Routledge.


Leach, R. and Borovsky, V. (eds) (19999) A history of Russian Theatre, Cambridge: Cambridge University Press.


Markov, P. (1974-7) O teatre: v 4-h tomakh. T. 3 Moskva: Isskustvo (On the Theatre: in four volumes. Volume 3 Moscow).


Markowitz, C. (2004) The Other Chekhov: A Biography of Michael Chekhov, the Legendary Actor, Director, and theorist, New York:Applause.


Merlin, B. (2003) Konstantin Stanislavsky, Routledge Performance Practitioners, London: Routledge.


Meyerhold, V. (1969) Meyerhold on Theatre, trans. Edward Braun, London: Eyre Methuen.

Mikhail Chekhov, Annotirovanny bibliografichesky ukazatel’ (1994) Moskva:Klyutch. (Michael Chekhov, A Bibliography. Moscow. In Russian and English.)


Nemirovich-Danchenko,V. (1936) My Life in the Russian Theatre, New York: Little, Brown and Co.


Saklad, Nancy. (2011)Voice and Speech Training in the New Millennium, New York: Hal Leonard Corporation.


Senelick, L. (1981) ‘Moscow and Monomania: the Meaning of the Craig-Stanislavsky Hamlet’ in Theatre Research International. Volume VI. Number 2. Spring 1981.


Simonov, R. (1969) Stanislavsky’s Protégé:Evgeny Vakhtangov, trans. Miriam Goldina, New York:Drama Book Specialists.


Stanislavsky, K. (1980) An Actor Prepares, trans Elizabeth Reynolds Hapgood, London:Methuen.


Stanislavsky, K. (1982) My Life in Art, trans. J.J. Robbins, London: Methuen.


Stanislavsky, K. (2000) Creating a Role, trans. Elizabeth Reynolds Hapgood, London Methuen.


Tschechowa, O. (1973) Meine Uhren gehen anders, Munich: Albert Langen, Georg Muller Verlag.


Vakhtangov, E. Edited by Andrei Malaev-Babel. (2011) The Vakhtangov Sourcebook, New York: Routledge.


Vinogradskaya, I. (1976) Zhizn’ I tvorchestvo K.S. Stanislavskogo. Letopis’. V 4 tomakh. T. 4. 1927-38. Moskva:Vserossiiskoe Tetral’noe Obshestvo.(life and creative work of Konstantin Stanislavsky. Chronicle. In four columes. Volume 4. 1927-38. Moscow.)


Woloschin, M. (1978) ‘Michael Chekhov, The Actor as Conscious Artist’ in Journal for Anthroposophy. Number 27.


Worrall, N. (1989) Modernism to Realism on the Soviet Stage, Cambridge: Cambridge University Press.


Worrall, N. (1996) The Moscow Art Theatre, London:Routledge.


Young, M. (1982) The Elmhirsts of Dartington. London:Routledge & Kegan Paul.


Zarrilli, P. (1995) Acting (Re)Considered, London:Routledge.