The actor who portrays Lieutenant Pavel Chekov of the Starship Enterprise describes his experiences and provides portraits of fellow actors during the filming of the Star trek movie based on the popular television series.

Theatre Studios explores the history of the studio model in England, first established by Konstantin Stanislavsky, Jacques Copeau and others in the early twentieth century, and later developed in the UK primarily by Michel Saint-Denis, George Devine, Michael Chekhov and Joan Littlewood, whose studios are the focus of this study. Cornford offers in-depth accounts of the radical, collective work of these leading theatre companies of the mid-twentieth century, considering the models of ensemble theatre-making that they developed and their remnants in the newly publicly-funded UK theatre establishment of the 1960s. In the process, this book develops an approach to understanding the politics of artistic practices rooted in the work of John Dewey, Antonio Gramsci and the standpoint feminists. It concludes by considering the legacy of the studio movement for twenty-first-century theatre, partly by tracking its echoes in the work of Secret Theatre at the Lyric, Hammersmith (2013–2015). Students and makers of theatre alike will find in this book a provocative and illuminating analysis of the politics of performance-making and a history of the theatre as a site for developing counterhegemonic, radically democratic, anti-individualist forms of cultural production.

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

Eminent critic Richard Gilman examines each of Chekhov's full-length plays, showing how they relate to each other, to Chekhov's short stories, and to his life. Gilman places the plays in the context of Russian and European drama and the larger culture of the period, and the reasons behind the enduring power of these classic works.

This study presents a detailed account of Chekhov's trip to Sakhalin, draws together scarce secondary material concerning the book, and offers insights into the problematic aspects of genre in light of modern critical and theoretical developments. Meanwhile, following Chekhov's remarkable story, the author connects the past to the present in a variety of spheres, including Russian's attitudes towards governance and the continuing geopolitical sensitivity of Sakhalin and the Kuirl Islands.

These stories from the middle period of Chekhov's career show him exploring complex, ambiguous and often extreme emotions. Influenced by his own experiences as a doctor, 'Ward No. 6', set in a mental hospital, is a savage indictment of the medical profession. 'The Black Monk', portraying an academic who has strange hallucinations, explores ideas of genius and insanity; in 'Murder', religious fervour leads to violence; while in 'The Student', Chekhov's favourite story, a young man recounts a tale from the gospels and undergoes a spiritual epiphany. In all the stories collected here, Chekhov's characters face madness, alienation and frustration before they experience brief, ephemeral moments of insight, often earned at great cost, where they confront the reality of their existence.

This is Volume I of eight in a series on the Sociology of the Soviet Union. Originally published in 1948, the aim from the outset was to throw light both on Chekhov and on Russia, by trying to see Russia through Chekhov's eyes and to see Chekhov as the product of a particular age and country.