(redirected from Pitoeff)



a family of French actors and theatrical figures.

Georges Pitoëff. Born Sept. 4, 1884, in Tbilisi; died Sept. 17, 1939, in Geneva.

G. Pitoëff began studying law in Paris in 1905, at the same time participating in amateur theatrical productions. Upon returning to Russia, he was employed in St. Petersburg at the V. F. Komissarzhevskaia Theater and the drama theater directed by P. P. Gaideburov and N. F. Skarskaia. In 1912 he organized his own theater, which toured Russia.

From 1915 to 1922, Pitoëff lived in Switzerland and Paris; in Paris he headed a theater troupe. He was one of the most important figures in the French theater during the 1920’s and 1930’s. He affirmed a theatrical art permeated with poetry and humanism, advocated the creation of a theater close to the common people, and “discovered” the plays of A. P. Chekhov for France. Pitoëffs views as a director received their fullest expression in productions of Shakespeare’s Hamlet (1920), Shaw’s Saint Joan (1925), and Chekhov’s The Three Sisters (1929). As an actor, he expressed his views most fully as Hamlet; as Tuzenbakh, Tre-plev, and Astrov in Chekhov’s The Three Sisters, The Sea Gull, and Uncle Vanya; and as Protasov in L. N. Tolstoy’s The Living Corpse.

Ludmilla Pitoëff. Born Dec. 25, 1895, in Tbilisi; died Sept. 15, 1951, in Rueil-Malmaison. Actress. Wife of Georges Pitoëff.

In 1916, L, Pitoëff made her debut with Georges Pitoëffs troupe in Switzerland. She played the most diverse roles, which frequently were in marked contrast to one another, and supported and carried out her husband’s innovative efforts. Her talent was revealed most fully in the title role of Shaw’s Saint Joan. From 1939 she lived and worked in Switzerland, the USA, and Canada, settling in Paris in 1945.

References in periodicals archive ?
(22.) Come osserva Daniela Bini (1998), grazie alla collaboranzione con Marta Abba (oltre che alle rappresentazioni fatte dai vari Reinhardt e Pitoeff a Berlino e a Parigi) Pirandello finira per ammorbidire le sue convinzioni a proposito.
Piantanida agrega, luego, que desde hacia treinta anos, en Monaco, Berlin, Ginebra, Moscu y Roma existen apasionados hacedores de teatro que estudian y proponen teorias; y menciona entre ellos a Giorgio Fuchs, Fritz Erler, Max Reinhardt, Meyerhold, Stanislavski, Dantchenko, Jordansky y Pitoeff.
Formado en Paris junto a realizadores tan prestigiosos como Charles Dullin y Georges Pitoeff, regreso definitivamente a Ginebra en 1939, acompanando a Georges Pitoeff, tras cuya muerte siguio trabajando en la compania que habia pasado a dirigir Ludmilla Pitoeff.
Delphine Seyrig, Giorgio Albertazzi, and Sacha Pitoeff. Cocinor, 1961.
Here are six brief "theater songs" that Milhaud composed for several plays: the first two songs from You Shall Never Return by Georges Pitoeff; the next two from The Mad Woman from Heaven by Rene Lenormand; and the last two songs from The First Family by Jules Supervielle.
Petrovich Priaichnikov (1889-1893); el Circulo de los Artistas, de Tiflis de Ivan Pitoeff; la Opera privada, de Zimin (1904-1915) y, la mas importante --debido a la convivencia diaria entre pintores "profesionales" y musicos y, por tanto, elemento central de esta investigacion interdisciplinar--, la compania de la Opera privada, de Sava Mamontov.
No es de presumir que Benavente conozca entonces El que recibe las bofetadas, de [Leonidas] Andreiev desconocido, que yo sepa, para la Europa que hemos dado en llamar Occidental, por oposicion a la Sovietica, hasta que los Pitoeff lo dan a conocer en el Paris de entre las dos Guerras.
As a teenager in Paris before the war, he regularly attended productions directed by the members of the Cartel, such as Georges Pitoeff and Charles Dullin.
June 1-5: Stage production of "The Chalk Garden" by Enid Bagnold at the Theatre Pitoeff
This table contains a description of the patch used in concert (march 30th 2006) in the Pitoeff Theater in Geneva for the diffusion of stereophonic tape pieces.
By contrast, Robbe-Grillet's text is rigorously postmodern, involving a series of images of three characters, X, A, and M (Giorgio Albertazzi, Delphine Seyrig, and Sacha Pitoeff, respectively), in a Baroque chateau whose labyrinthine corridors mirror the logical impasses of its mazelike narrative.