Malaev-Babel's Vakhtangov Sourcebook is one of two new works that significantly expand our understanding of Russian-Armenian director Yevgeny Vakhtangov. The first, a documentary history in Russian, edited by V. Ivanov, ‘de-Sovietizes’ Vakhtangov by restoring numerous previously censored documents. Malaev-Babel takes a somewhat different approach. Soviet criticism often positioned Vakhtangov as the synthesis of supposedly irreconcilable opposites: Stanislavski and Meyerhold, realism and formalism. Malaev-Babel diffuses this polarization by exploring Vakhtangov's unique ability to absorb, expand and transform the theatrical ideas with which he came into contact. The result is a rich perspective on the vibrant theatrical culture of which Vakhtangov and his contemporaries were a part.
In a substantial introduction, Malaev-Babel demonstrates that the ‘fantastic realism’ of Vakhtangov's productions has at its core a concern with nurturing the actor's fantasy, the unfettered ability to create. Vakhtangov rejected Stanislavsky's early association of truthfulness with likeness to life, instead cultivating the ‘complete freedom’ (p. 10) of openness and spontaneity. He had an uncanny ability, in Michael Chekhov's words, to speak to each actor ‘in the language of his soul’ (p. 13). Vakhtangov's concern with the actor's ‘creative individuality’ (p. 9) was mirrored in his quest to find the most expressive mode for each play, as evidenced by the stylistic differences between his most famous productions, The Dybbuk and Princess Turandot.
Malaev-Babel dedicates the remainder of the book to primary sources that trace the development of Vakhtangov's thinking. These documents are thematically grouped in sections on actor training; Vakhtangov's ‘transfiguring’ (p. 169) of Stanislavsky's system; rehearsal materials; letters; and his exploration of the ‘theatre of mystery’, ‘popular theatre’ and ‘fantastic realism.’ The documents are complemented by a detailed glossary and bibliography, and vivid, relevant illustrations. Many documents provoke paradigm-shifting bursts of insight; however, additional commentary and indexing would help readers to navigate more effectively through them. Curiously absent are the names of the archives that hold these primary sources; this may be because Malaev-Babel assembled most of the documents from previous publications. He does cite all Russian editions and, like Ivanov, restores cuts made by Soviet censors.
Malev-Babel probably intended the Sourcebook to be paired with his Yevgeny Vakhtangov, forthcoming in Routledge's Performance Practitioners series. This second book will, one hopes, provide greater cultural context for Vakhtangov beyond his formative influences at the Moscow Art Theatre and First Studio, as well as additional explanation of whence his notions of irony, the grotesque, theatre of mystery and popular theatre sprang. Nevertheless, The Vakhtangov Sourcebook gives a practical, thoughtful perspective on the actor–director relationship that will appeal to practitioners, students and scholars alike. Vakhtangov's sensitivity in working with actors and his openness to many styles remain very relevant today; The Vakhtangov Sourcebook reminds us that when we ‘enter the theatre’, we, too, must ‘proceed with an open soul’ (p. 102).
