Pitoëff

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Pitoëff

 

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 ?
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.
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.
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.
In April 1923 he visited Paris where he saw the Pitoeff interpretation of Sei personaggi at the Comedie des Champs-Elysees.
A little searching in the French National Library's on-line catalog revealed that Sardanapale, produced by Georges Pitoeff at the Theatre des Arts, the director and theater mentioned in the book, was actually a play by A.
Artaud havia interpretado dois pequenos papeis nas duas primeiras pecas de Pirandello representadas na Franca:A Volupia da Honra, montada por Dullin (1885-1949) em 1922 e, Seis Personagens a Procura de um Autor, encenada por Pitoeff (1884-1939), em 1923.
Champion treaded the boards with theater greats Jacques Copeau, Jean Daste, Jean Vilar and Georges Pitoeff before embarking on a film career.
Also included in the first volume are several papers read at a conference held at the Academy on 3 November 1992, including "The Untalkables of Music," by Mantle Hood, and "Du cylindre au disque compact: Les archives sonores du Musee de l'Homme (Paris)," by Pribislav Pitoeff.