THE 120TH ANNIVERSARY CELEBRATION OF CHEKHOV’S THE SEAGULL

Lola Cohen (USA)

Lola Cohen trained with Lee Strasberg during the last five years of his life and has taught acting for 26 years at the Lee Strasberg Theater and Film Institute in New York City, Los Angeles, and in private classes. After Lee’s death, Lola continued her training with Kim Stanley and Jose Quintero. She coached Chris Rock, trained Tony-Award-nominee Kelli O’Hara, and has taught and directed hundreds of actors in scenes and plays during her career in the theater. As a member of Bob Dylan’s Rolling Thunder Review, Lola made her film debut in “Renaldo and Clara” in 1975, and in 2009 played Judge Kaplan in Rik Cordero’s “Inside a Change,” which won best film in HBO’s Latino International Film Festival.

Lola’s directorial credits include “A Midsummer Night’s Dream” for the Woodstock Youth Theater; Jean Genet’s “The Maids” at the Strasberg Institute, and Lewis John Carlino’s “Snowangel” while she was the 2009 Artist-in-Residence at SUNY-Ulster. Lola contributed to and appeared in the American Masters documentary, “There but for Fortune,” about folk singer and political activist, Phil Ochs. Lola was a source for and consulted on Liz Garbus’ Marilyn Monroe Documentary, “Love Marilyn,” and has consulted on and will appear in a Kim Stanley documentary “The Needs of Kim Stanley,” currently in production.

Lola is also an adjunct associate professor of law at Brooklyn Law School, where for the last thirteen years she has taught her class “Relaxation, Concentration and Communication Skills for Attorneys”. Lola has also taught Master Classes at American University and NYC’s Pratt Institute.

In 2010, Lola Cohen compiled and edited The Lee Strasberg Notes, which were published by Routledge Publishing House. The book is based on unpublished transcripts of Strasberg’s own classes on acting, directing and Shakespeare. The Lee Strasberg Notes recreates his theoretical approach, as well as the practical exercises used by his students, and brilliantly conveys his approach and personality. For the very first time, The Lee Strasberg Notes reproduces the original teachings of a unique voice in actor training. The book is a stunning document on the history and ongoing practice of Strasberg’s Method.

Lola Cohen lives in Woodstock, NY and continues to teach at the Strasberg Institute in NYC.

Nikita Mikhalkov (Russia)

Nikita Mikhalkov, who wrote, directed and played the lead role of Serguei in “Burnt by the Sun,” was born in Moscow in 1945 into a distinguished artistic family. His great grandfather, Vassily Surnikov and his grandfather, Pyotr Konchalovsky, were both acclaimed painters, his father, Sergei Mikhalkov, is a well known writer of children’s literature (he also wrote the lyrics to the Soviet national anthem), his mother, Natalkia, is a poet, and his older brother is the filmmaker Andrei (Mikhalkov-)Konchalovsky (“Siberiade,” “Maria’s Lovers,” “Runaway Train,””Shy People”)
Mikhalkov studied acting at the children’s studio of the Stanislavsky Theatre and later at the Chuksin School of the Vakhtangov Theatre. While still a student, he apppeared in Georgy Danelia’s film “I Walk in Moscow” (1964) and his brother Andrei Konchalovsky’s film “A Nest of Gentry” (1969). He was soon on his way to becoming a star of the Soviet stage and cinema.

While continuing to pursue his acting career, he then went to VGIK, the state film school in Moscow, where he studied directing under filmmaker Mikhail Romm, teacher to his brother and Andrei Tarkovsky. He directed his first short film in 1968, “I’m Coming Home,” and another for his graduation, “A Quiet Day at the End of the War” in 1970. Mikhalkov had appeared in over twenty films, including his brother’s “Uncle Vanya” (1972), before he co-wrote, directed and starred in his first feature, “At Home Among Strangers” in 1974, a kind of Soviet Western set during the 1920s civil war.

Mikhalkov established an international reputation with his second feature, “A Slave of Love” (1976). Set in 1917, it followed the efforts of a film crew to make a silent melodrama in a resort town while the Revolution rages around them. The film was highly acclaimed upon its release in the U.S.

Mikhalkov’s next film, “An Unfinished Piece for Player Piano” (1977) was adapted by Mikhalkov from Chekhov’s early play, “Platonov,” and won the first prize at the San Sebastian Film Festival. In 1978, while starring in his brother’s epic film “Siberiade,” Mikhalkov made “Five Evenings,” a love story about a couple separated by World War II, who meet again after fifteen years. Mikhalkov’s next film, “Oblomov” (1980), is based on Ivan Goncharov classic novel about a lazy young nobleman who refuses to leave his bed. “Family Relations” (1981) is a comedy about a provincial woman in Moscow dealing with the tangled relationships of her relatives. “Without Witnesses” (1983) tracks a long night’s conversation between a woman and her ex-husband when they are accidentally locked in a room.

Incorporating several short stories by Chekhov, “Dark Eyes” (1987) stars Marcello Mastroianni as an old man who tells a story of a romance he had when he was younger, a woman he has never been able to forget. The film was highly praised, and Mastroianni received the Best Actor Prize at the Cannes Film Festival and an Academy Award nomination for his performance. Mikhalkov’s next film, “Close to Eden” (1992, aka “Urga”), set in the little known world of the Mongols, who live on the border between Russia and China, was nominated for an Academy Award as Best Foreign Language Film. Mikhalkov’s “Anna: 6-18″ (1993) documents his daughter Anna as she grows from childhood to maturity.

Mikhalkov has continued his acting career, appearing in such films as “The Call,” “Song to Manchuk,” “The Red Tent,” “Flights of Fancy,” “Station for Two, “Cruel Romance,” and many of his own films, including “At Home Among Strangers,” “A Slave of Love,” “An Unfinished Piece for Player Piano” and “Burnt by the Sun.” He has built up a reputation as an actor’s director. Mikhalkov says that he improvises on the set, “in the way that Bergman does; that’s to say during long careful rehearsals, which are the only way to give the team, and particularly the actors, the freedom they need. I find it impossible to have a complete blueprint for a film. Partly because I’m not sure that what I intend to do will be right, and partly because a film is always a living thing and I need to confirm this constantly. I don’t set out to ‘make cinema.’ it’s rather that something happens between the cinema and me and the result is a film.”

Prof. Dr. Jurij Alschitz (Germany)

Jurij Alschitz was born in Odessa, received his first education in directing in Moscow (State University of Culture) in 1973 from Prof. J. N. Malkowskij (one of the then few remaining living students of Stanislavski). After numerous creations in the main cities of the Soviet Union, he continued his education as director in GITIS – The State Institute for Theatre Art in Moscow in 1983. In 1987, he completed his most significant educational undertaking as an acting teacher through the Ministry of Culture, USSR, and then began his teaching position at the GITIS in 1989.

In 1987, Jurij Alschitz took part in the foundation of the theatre “School of Dramatic Art” of Anatolij Vasiliev in Moscow, where he regularly participated as actor, director, and pedagogue ever since its inauguration. At this theatre, he developed an independent method of actor training via improvisation, and participated with the ensemble in large international festivals in Europe, North and South America, and Asia — where he (the ensemble) was awarded several international prizes.

Since 1992, he has directed projects and seminars in European theatres, universities, and theatre schools in Germany, Italy, Sweden, Denmark, Spain, England, USA, Norway, and Brazil.

In 1994, Jurij and his assistants created the European net of theatre education and laboratory work – EATC/the European Association for Theatre Culture. He is the artistic director of AKT-ZENT, Berlin (which was designated as the Research Centre of the Theatre Training Committee – ITI/UNESCO in 2006), PROTEI/Progetti teatrali internazionali, Milan, and SCUT/Nordic theatre research centre (skandinaviskt centrum för utforskning av teater), Stockholm.

Prof. Dr. Jurij Alschitz has published many articles in theatre magazines and newspapers; he is author of the books “La Grammatica dell Attore. Il Training,” Italia – Ubulibri (1998, 2001, 2003); ‘La Matematica dell Attore,” Italia – Ubulibri (2004); “The Vertical of the Role” (in German, English, Italian, and Swedish), Deutschland – ars incognita (2003); “Training forever!” Sweden (2004); and “40 Questions of one Role” (in German and English), Deutschland – ars incognita (2005).

Zoya Zadorozhanya (Russia)

In 1968, Zoya graduated from the acting department of Vladivostok Institute of Arts. Since 1982, Zoya has taught the art of acting. As a teacher, she is recognized as an expert in both voice and stage speech for actors.

Zoya Zadorozhnaya was born in the Far East of Russia. In 1968, she graduated from the acting department of Vladivostok Institute of Arts. Zoya is an actress who has worked in Khabarovsk, Vladivostok, and Irkutsk. Since 1982, Zoya has taught the art of acting.

As a teacher, she is recognized as an expert in both voice and stage speech for actors. Zoya’s speech and voice lessons focus on several important foundational elements for the actor, such as the nature of sound formation and generation, the freedom and ease of the voice, and the power and clarity of the voice.

In her work, Zoya uses the broad techniques of Eastern Theater Training which are based on the independence of the imagination itself. Zoya has successfully conducted study classes and master classes for professional actors and students in many locales, such as Russia, Lithuania, Belarus, Kazakhstan and France.

Slava Kokorin (Russia)

Slava Kokorin (Vyacheslav Vsevolodovich Kokorin) has directed and guided many of what are considered in our modern times as the best theatre troupes in the world. Since 1982, Slava has worked with a particular kind of theatre pedagogy – acting based on the artistic principles left to us by one of the greatest actors of the 20th century – Michael Chekhov. Today, Slava is regarded as one of the most valuable teachers who have the capacity to realize the legacy of Michael Chekhov. In 2009, Slava was the Stanislavski Prize winner in nomination of “The best theatre pedagogue.”

Slava Kokorin was born on May 30, 1944 in Ulan-Ude, the capital city of the Republic of Buryatia in Russia. Slava graduated from the Belarusian Institute of Art and Theatre in Minsk (1967), the St. Petersburg Academy of Theatre Arts (1973), and the Russian Institute of Cinematography (1975). As a stage director, Slava has staged over 100 productions in countries including Russia, Denmark, Poland, Germany, Estonia, Slovenia, Austria, Croatia, Italy, Great Britain and the United States (Eugene O’Neill Theatre Center).

And on several occasions he has been awarded “Best Theatre Performance” and “Best Theatre Director” of the National Theatre Award’s “Golden Mask” (Moscow), and at The International Association of Theatre for Children and Young People (ASSITEJ) with “Burn, Burn, My Star” by Yuli Dunsky.

Slava Kokorin continues to participate annually at the International Michael Chekhov Conferences in Moscow and Berlin and as a leading member of the Presidium at The International Michael Chekhov Association (MICHA). Slava has been invited to teach all over the world in countries including France, Belgium, Indonesia, Germany, Switzerland, USA, Cuba, Senegal, Poland and many more. In addition, from 1993 to 200, Slava organized the Baykal Theatre School with the participation of trainees from Russia, US, Spain, Japan, Denmark, Holland, England, Finland, and Germany.

Ulrich Meyer-Horsch (Germany)

Ulrich Meyer-Horsch is a well-known stage actor in Germany, with 25 years of experience performing at German state and regional theatres, including Deutsches Schauspielhaus Hamburg, Schauspiel Frankfurt, Theater Kiel, Theater Lübeck, and Maxim Gorki Theater Berlin. Recently, he has been playing the leading part in Goethe’s ‘Faust I+II’ at Forum Theater Stuttgart, directed by Jobst Langhans. Ulrich has worked in many countries, with artists such as Augusto Boal, Simon McBurney and Complicite, Philippe Gaulier, and Yoshi Oida. As an award-winning director, he is known for his playful productions of the works of Bertolt Brecht. Since 2014, he has been the Associate Artistic Director of Kreuzgangspiele Feuchtwangen.

Ulrich holds diplomas in Acting from Schule für Schauspiel Hamburg, and in Theology, Philosophy and Theatre Pedagogy from the Universities of Heidelberg, Hamburg, London (King’s College), and Kiel. In the 80’s and 90’s, he studied with Chekhov’s former students Hurt Hatfield, Deidre Hurst du Prey, Mala Powers and Joanna Merlin, as well as with master teachers from Germany and Russia.

A Master Teacher of the Michael Chekhov Acting Technique, he incorporates in his own approach the exploration of children’s games and work with masks. Since 1994, Ulrich has been teaching throughout Europe, as well as in Brazil, the US and Taiwan. He is a guest lecturer at University of Arts Zürich (Switzerland) and Yeditepe University Istanbul (Turkey), and a faculty member of MICHA, New York (USA). Ulrich is also a founding member of Michael Chekhov Europe (MCE) and has published several essays on Chekhov and actors’ training, which have been translated into English, Turkish, Swedish, Finnish and Mandarin.

Marjo-Riikka Makela (Finland)

Marjo-Riikka Makela has specialized in a variety of different acting techniques, is a faculty member of the Michael Chekhov Association, and has worked extensively with the Michael Chekhov Technique, both as an actress and director.

Some of Marjo-Riikka’s favorite roles include: Medea under the direction of David Bridel, Yelena in Uncle Vanya at the Classic Stage Company in NYC, and her work with Sarah Kane and Andrei Malaev-Babel at the Stanislavsky Theatre Studio in Washington DC. Her favorite directing credits include many Anton Chekhov plays, Shakespeare, Schiller, T. Williams, and an abundance of devised work.

Recently, Ms. Makela has taught at the Stanislavsky Institute, National Theatre Academy and the National Theatre of Finland, California State University LB, Acting Corps Studios, ActorFest, Chapman University, Loyola Marymount University, The Insurgo Theater Movement, The Actor’s Movement Studio (NYC), the INTAR Theater (NYC), The Actors’ Gang, University of Southern California, and CalArts MFA programs. Marjo-Riikka does weekly private coaching for many successful TV and film professionals. She has coached actors for films and series, such as HER, Togetherness, Reunion, 10 Year Plan, True Blood, Madmen, CSI, Californication, Mentalist, Castle, Nip Tuck, Alphas, Body of Proof, Ghost Whisperer, Entourage, How I Met your Mother, General Hospital, Night Shift, Bones, Numb3rs, Deadwood, in Treatment … to mention a few.

She has clients around the world, and she has been featured in Back Stage, the Los Angeles Times, American Theater Magazine, and several major European publications. Marjo-Riikka is an honorary member of the Stanislavsky Institute and School of Cinema.

Eric van Grootel (Nederland)

Eric Van Grootel is a Master Teacher in Creative Speech, Awareness Training, Voice Dialogue, Process Work and Master Teacher of the Michael Chekhov technique.

Eric has been helping lots of people in finding their creative Channel during his 25 years of teaching singing, speech, theatre, management and mental work. He was co-leader of the Dutch Michael Chekhov Institute and a teacher in many International Michael Chekhov Workshops and Russian theatre schools.

As a theatre and music director he staged music theatre, opera, multimedia and choir productions, modern and classical theater; as artistic leader of Muziektheater ImpAkt; often in Russia, e.g.’Phenix and Turtle’ in Moscow; ’Fly Seagull!’ a mix of Anton Chekhov and Richard Bach in Irkutsk. His ’MacBeth’ was a hit in the Smolensk region.

As a performer he works in music theatre, sound-improvisation and multimedia productions, also in solo programs with his own texts and songs. He is author of theatre scripts, poetry, song- and choir compositions.

Eric finished his professional education as a singer, philosopher and teacher and has been researching the connection between sound, breath, theatre and spiritual growth his entire life, with artistic techniques and Shamanic, Buddhist and Christian methods.

Vladimir Anan'ev (Russia)

Vladimir Anan’ev is a Russian theatre director, actor and world-renowned teacher of movement disciplines within the art of acting; and is a highly-regarded expert in pantomime and clowning approaches.

Vladimir participated in more than 100 creative projects as an actor, stage director and producer in Russia, Estonia, Lithuania, the United Kingdom, France and Germany, as well as many other countries. Currently he is the leading stage director at Moscow Theater of Clown Art (Teatrium na Serpukhovke).

Vladimir Baycher (Russia)

Vladimir Baycher in 1994, graduated from The Russian University of Theatre Arts (GITIS), under the artistic direction of Leonid Heyfets. Today, Vladimir still teaches at the Directing Department at The Theatre Institute of the Boris Shchukin in Moscow and at The Russian University of Theatre Arts (GITIS).

To-date, Vladimir has staged over twenty theatre productions in Moscow and abroad. Vladimir organized and participated in many international projects, in particular, Michael Chekhov International workshops and Master Classes. Vladimir underwent training under the guidance of George Zhdanov. Zhdanov was a student and colleague of Chekhov, and received his certificate to teach the Michael Chekhov acting method.

Vladimir Baycher is the Founder and Artistic Director of the International Theatre Festival “The Melikhovo Spring.” “The Melikhovo Spring” is a unique annual theater festival which focuses on productions of Chekhov’s plays or performances. The festival is dedicated to Chekhov’s life and work, and is attended by theatre troupes from all over the world.

Tatyana Shah - Azizova (Russia)

Tatyana is the world’s leading expert and researcher on the literary and artistic heritage of Anton Chekhov. In her latest award-winning book, “Half a Century in the Theater of Chekhov” (2010), Tatyana collected articles by a well-known theater critic and dedicated it to the 150th birthday of Anton Chekhov. In it, she discussed the traditions of staging Chekhov`s plays in Russia and abroad, Chekhov`s evolution from play to play, new theatre forms of presenting his work, and the expansion of Chekhov`s geographic appeal and style, and included a dialogue on the theme of “time.”