Box 1
Container
Contains 65 Results:
Letter, November 27, 1933: Nice to New York City, 1933-11-27
File — Box: 1, Folder: 60
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1933-11-27
Letter, February 23, 1934: Nice to New York City, 1934-02-23
File — Box: 1, Folder: 61
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1934-02-23
Letter, June 7, 1936: Moscow to Petersham, MA, 1936-06-07
File — Box: 1, Folder: 62
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1936-06-07
Letter, July 20, 1936: Moscow to Petersham, MA, 1936-07-20
File — Box: 1, Folder: 63
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1936-07-20
Telegram, no date, ca. June, 1936: Moscow to Petersham, MA, 1936-06
File — Box: 1, Folder: 64
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1936-06
Telegram, September 17, no year, ca. 1936: Nice [?] to Petersham, MA, c. 1936
File — Box: 1, Folder: 65
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
c. 1936
Letter, March 22, 1928: Moscow to New York City, 1928-03-22
File — Box: 1, Folder: 1
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1928-03-22
Telegram, April 14, 1928: Moscow to New York City, 1928-04-14
File — Box: 1, Folder: 2
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1928-04-14
Letter, August 4, 1929: Badenweiler to [no address], 1929-08-04
File — Box: 1, Folder: 3
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1929-08-04
Letter, August 9, 1929: Badenweiler to [no address], 1929-08-09
File — Box: 1, Folder: 4
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1929-08-09
Letter, August 26, 1929: Badenweiler to [no address], 1929-08-26
File — Box: 1, Folder: 5
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1929-08-26
Letter, August 31, 1929: Badenweiler to Pornic, 1929-08-31
File — Box: 1, Folder: 6
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1929-08-31
Letter, October 18-30, 1929: Badenweiler to Menton, 1929-10-18 - 1929-10-30
File — Box: 1, Folder: 7
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1929-10-18 - 1929-10-30
Letter, undated, postmark December 30, 1929: Nice to Gstaad, 1929-12-30
File — Box: 1, Folder: 8
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1929-12-30
Letter, undated, ca.1929: Badenweiler to Menton, c. 1929
File — Box: 1, Folder: 9
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
c. 1929
Letter, January 15, 1930: Nice to Menton, 1930-01-15
File — Box: 1, Folder: 10
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1930-01-15
Letter, postmark January 23 [?], 1930: Nice to Menton, 1930-01-23
File — Box: 1, Folder: 11
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1930-01-23
Letter, February 18, 1930: Nice to Menton, 1930-02-18
File — Box: 1, Folder: 12
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1930-02-18
Letter, postmark February 24, 1930: Nice to Menton, 1930-02-24
File — Box: 1, Folder: 13
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1930-02-24
Letter, March 4, 1930: Nice to Menton, 1930-03-04
File — Box: 1, Folder: 14
Scope and Contents
From the Collection:
The archive is comprised of ~65 handwritten letters from Stanislavskii to Elizabeth Hapgood, 6 telegrams and 3 typed letters. The correspondence ranges from 1928 to 1936 and concerns Stanislavskii’s thoughts on art, his acting studios and workshops, various dramatic and operatic productions, especially Dead Souls and The Golden Cockerel, the fates of various writers and artists he has known, European and American political affairs in the interim between the Wars, and personal...
Dates:
1930-03-04