Leontevskiy pereulok 6
Tel. (495) 629 2442
Subway: Arbatskaya, Tverskaya
Open: 12- 7pm Wed, Fri, 11am- 6pm Thu, Sat, Sun
Closed: last Thursday of month
The Stanislavsky house-Museum is the house in Moscow where Konstantin Stanislavsky, a Russian theater Director, actor, teacher, and theater reformer, lived. He lived on the first floor from 1920, until his death in 1938, at the age of 75. Stanislavsky became disillusioned with the conservative spirit of the old Moscow theater school and created an outlet for his innovative ideas, founding the Moscow art theater ( Moscow art theater) in 1898. After moving into this apartment, he turned his ballroom into an impromptu theater, where he rehearsed scenes while working on an experimental drama school. Later, when he became too ill to leave the house, he also held rehearsals here for the Moscow art theater company. Currently, the house has a Museum directed by K. S. Stanislavsky. Stanislavsky's living room and study are now open to the public, as well as his dining room and the bedroom of his wife, Maria Lilina. Also on display are an early Edison phonograph and a vase that was a gift from the dancer Isadora Duncan. On the lower floor there are props and costumes from Stanislavsky's performances.The Museum building itself was built in the 19th century.
Konstantin Sergeyevich Alekseev, better known by his stage name
Konstantin Stanislavski (1863–1938), was a pivotal figure in
modern theater. Born in Moscow into a prominent merchant family,
he revolutionized acting and directing through his innovative
"Stanislavski System," which emphasized emotional authenticity,
psychological realism, and immersive preparation for roles. This
method influenced generations of actors worldwide, including
those in the Method Acting tradition popularized in the United
States. Stanislavski co-founded the Moscow Art Theatre (MAT) in
1898 with Vladimir Nemirovich-Danchenko, where he directed
landmark productions of works by Anton Chekhov, Maxim Gorky, and
others, including acclaimed tours to Europe and the US. His
family's wealth from textile manufacturing and gold thread
production allowed him early exposure to amateur dramatics,
fostering his passion for the stage. The Alekseev clan was a
dynasty of innovative entrepreneurs who contributed
significantly to Moscow's development, including two city mayors
and industrial advancements in the 19th century. Stanislavski
adopted his pseudonym to separate his theatrical pursuits from
the family business, reflecting the era's social norms.
The Building's Architectural and Historical Background
The
Stanislavski House-Museum is housed in a historic mansion at 6
Leontyevsky Pereulok (Lane) in central Moscow, near the
Tverskaya and Pushkinskaya metro stations. This structure, often
described as a 17th- or 18th-century edifice, has a layered
construction history that mirrors Moscow's architectural
evolution. The core parts of the building were erected between
1650 and 1670, during the late Muscovite period, when Moscow was
expanding as a cultural and economic hub. It underwent
significant expansion around 1777, incorporating neoclassical
elements popular in the reign of Catherine the Great, and was
further enlarged at the beginning of the 19th century, likely
adding romantic or empire-style features amid the
post-Napoleonic reconstruction of the city. Prior to
Stanislavski's occupancy, the mansion served as a private
residence for affluent Muscovites, though specific previous
owners are not well-documented in public records. Its size and
grandeur made it suitable for subdivision during the early
Soviet era.
Stanislavski's Residency (1921–1938)
Stanislavski moved into the mansion in 1921, amid the chaos of
the Russian Civil War and the early years of Soviet rule. This
relocation was facilitated by the Bolshevik government's policy
of "uplotnenie" (densification), which involved confiscating and
subdividing large bourgeois homes into communal apartments to
address severe housing shortages in urban areas. Due to
Stanislavski's cultural prominence—as the director of the MAT,
which had been nationalized and renamed the Moscow Art Academic
Theatre (MKhAT)—he was allocated a substantial portion of the
building, akin to privileges granted to other intellectuals like
Maxim Gorky. He resided there with his wife, Maria Petrovna
Lilina (née Perevoshchikova, 1866–1943), a leading MAT actress
whom he had married in 1889 after proposing at her nearby former
home at 2a Leontyevsky Lane (demolished in 2003). The couple
raised their surviving children here: daughter Kira Alekseeva
(1891–1977), who later married painter Robert Falk, and son Igor
Alekseev (1894–1974), who married Alexandra Tolstaya,
granddaughter of Leo Tolstoy. (An earlier daughter born in 1890
died in infancy.)
During these final 17 years, the mansion
became a hub for Stanislavski's creative work. He refined his
acting system through experiments, rehearsals, and writings,
including his seminal books My Life in Art (1924) and An Actor
Prepares (1936). The home's spacious rooms allowed for private
rehearsals and discussions, even as the MAT faced pressures from
the communist regime, including censorship and ideological
scrutiny. Stanislavski's health declined in the 1930s due to
heart issues, and he spent much time in seclusion here,
directing from his study. He passed away in the house on August
7, 1938, at age 75, leaving a profound impact on global theater.
Establishment of the House-Museum (1948 Onward)
The
mansion was transformed into the Konstantin Stanislavski
House-Museum in 1948, exactly 10 years after his death and
coinciding with the 85th anniversary of his birth. The
initiative came from his widow, Maria Lilina, and daughter Kira
Alekseeva, who advocated for preserving the space as a tribute
to his legacy. Kira served as the museum's first director. It
became a branch of the Museum of the Moscow Art Academic Theatre
(MKhAT), ensuring institutional support. The museum's creation
reflected the Soviet Union's post-World War II cultural revival,
honoring Stanislavski as a national treasure despite earlier
tensions with the regime.
Much of the interior was
meticulously preserved to reflect the 1920s–1930s era, including
painted ceilings, carved wooden furniture, and personal rooms
like Stanislavski's study and bedroom. Exhibits focus on his
life, family, and career, featuring antique furniture, stage
costumes from MAT productions, photographs, archival documents,
and his personal library with rare books, letters, and
manuscripts. A highlight is the top-floor reconstruction of the
theater barn from the family's Lyubimovka estate (now derelict),
showcasing an exhibition on Stanislavski's early years and
amateur theatricals. The museum also includes a small auditorium
that has hosted performances, particularly in the 1990s, by
contemporary theater companies. A commemorative plaque outside
honors him as an "actor and director."
Significance and
Modern Role
Today, the museum serves as a research center and
memorial, attracting theater enthusiasts, scholars, and
tourists. It underscores Stanislavski's enduring influence on
performing arts, with English-language explanations enhancing
accessibility. Operating hours include Wednesdays and Fridays
from 12:00–19:00, Thursdays from 13:00–21:00, and weekends from
11:00–18:00 (closed Mondays and Tuesdays). In a city rich with
cultural landmarks, it stands as a testament to Moscow's
theatrical heritage and the Alekseev family's contributions to
Russian history.
The Konstantin Stanislavski House-Museum, also known as the K.S.
Stanislavsky House-Museum, is a memorial institution dedicated
to the life, work, and legacy of Konstantin Sergeyevich
Stanislavski (1863–1938), the legendary Russian actor, director,
and theatre innovator who co-founded the Moscow Art Theatre
(MAT) and developed the influential "Stanislavski System" of
acting. Located in the heart of Moscow at 6 Leontyevsky Pereulok
(sometimes referred to as Leontievsky Sidestreet), the museum
occupies the historic mansion where Stanislavski resided for the
last 17 years of his life, from 1921 until his death. This
setting provides an intimate, authentic glimpse into his
personal world, blending domestic history with theatrical
heritage. As a branch of the larger Moscow Art Theatre Museum,
it serves as both a research center and a public venue,
attracting theatre enthusiasts, scholars, and tourists
interested in Russian cultural history.
The museum's
collection is primarily memorial in nature, focusing on
preserving the original ambiance of the home while showcasing
artifacts that highlight Stanislavski's contributions to
theatre. It emphasizes his family life, creative process, and
collaborations, particularly with his wife, Maria Petrovna
Lilina (1866–1943), a prominent MAT actress. The exhibits are
housed within the restored rooms of the mansion, creating an
immersive experience that feels like stepping back into the
early 20th century. Unlike larger art museums, this collection
is intimate and narrative-driven, with a total of around several
hundred items, though exact figures are not publicly detailed in
available sources.
Historical Context and Establishment
Stanislavski, born Konstantin Sergeyevich Alekseyev, moved into
this spacious mansion in 1921 amid the turmoil of the Russian
Civil War. At the time, housing shortages led to widespread
"uplotnenie" (compaction), where multiple families were forced
into single homes, but Stanislavski's prominence allowed him to
retain the entire property—a rare privilege. Here, he continued
his groundbreaking work on acting methodology, directing
rehearsals, and mentoring students, even as his health declined.
The mansion, built in the late 19th century, reflects the
architectural style of Moscow's pre-revolutionary elite, with
ornate interiors that Stanislavski adapted for both living and
creative purposes.
After Stanislavski's death in 1938, the
house was preserved by his family, including his daughter Kira
Alekseyeva (1891–1977), who became the museum's first director.
It officially opened as a museum in 1948, coinciding with the
10th anniversary of his passing and the 85th of his birth.
Initially managed by the MAT, it has since become a key site for
studying Stanislavski's "system," which emphasizes emotional
authenticity and psychological realism in performance. The
museum has undergone restorations to maintain its historical
integrity, and it occasionally hosts temporary exhibitions, such
as those on Stanislavski's collaborations or anniversaries of
his productions.
Detailed Description of the Collection
The permanent collection is spread across the mansion's rooms,
combining preserved domestic spaces with curated displays. It
includes over 1,000 items (estimated based on similar
house-museums), categorized into personal memorabilia,
theatrical artifacts, and archival materials. The focus is on
illustrating Stanislavski's evolution from amateur actor to
theatre reformer, his family dynamics, and his impact on global
acting techniques. Key themes include his work at the MAT,
productions like The Seagull and Othello, and his pedagogical
writings, such as An Actor Prepares.
Preserved Rooms and
Interiors
Much of the museum's appeal lies in its faithfully
recreated rooms, which serve as both exhibits and backdrops for
artifacts. These spaces highlight Stanislavski's blend of
personal and professional life:
Living Rooms and Study:
These areas showcase the everyday environment where Stanislavski
lived and worked. Furnished with period pieces, including desks,
chairs, and bookshelves, they reflect his intellectual pursuits.
The study, in particular, contains his writing desk where he
drafted treatises on acting, surrounded by family portraits and
mementos.
'Onegin Hall': Named after Pushkin's Eugene Onegin,
this grand room was used for rehearsals and gatherings. It
features elegant decor, including chandeliers and wall hangings,
and displays related to Stanislavski's operatic and dramatic
experiments. Artifacts here might include scores or props from
his productions inspired by Russian literature.
'Blue Foyer':
A striking space with blue-toned walls and furnishings, this
area served as a reception and creative hub. It houses exhibits
on Stanislavski's social circle, including interactions with
figures like Anton Chekhov and Vladimir Nemirovich-Danchenko.
Photographs and letters document collaborations and personal
correspondences.
Small Auditorium: A modest theatre space
within the mansion, occasionally used for contemporary
performances by visiting companies. It evokes Stanislavski's
commitment to live theatre and may display set models or
costumes from his era.
Other rooms, such as bedrooms and
dining areas, are preserved to show family life, with items
belonging to Lilina and their children.
Key Artifacts and
Exhibits
The collection is rich in primary sources that
provide insight into Stanislavski's methods and era:
Personal Belongings and Documents: Items like Stanislavski's
clothing, accessories, and household objects illustrate his
daily routine. Archival documents include diaries, manuscripts
of his books (e.g., drafts of My Life in Art), and letters
exchanged with theatre luminaries.
Theatrical Memorabilia:
Original props, costumes, and set designs from MAT productions,
such as sketches for Othello (1920s) or The Marriage of Figaro
(1927). These highlight collaborations with artists like
Alexander Golovin.
Photographs and Visual Media: Extensive
collections of rare photographs depicting rehearsals,
performances, and personal moments. Some capture Stanislavski
with students or during international tours, emphasizing his
global influence.
Library and Rare Books: Stanislavski's
personal library, comprising rare editions, theatrical texts,
and annotated scripts. It includes letters and novel
manuscripts, offering a window into his research and
inspirations.
Furniture and Decorative Arts: Authentic period
furniture, including tables, chairs, and still-life setups that
evoke the 1920s–1930s atmosphere. Some pieces are tied to
specific events, like meetings with aviators or theatre troupes.
Special Features and Significance
The museum functions as
a research hub, with access to archives for scholars studying
Stanislavski's system. Guided tours (available in Russian, with
English explanations in some rooms) often include excursions to
Stanislavski's dressing room at the MAT, linking the house to
his broader career. Temporary exhibits, such as those on his
160th anniversary, feature rare photos and international
collaborations.