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A parallel example in France was the close collaboration between Che´reau and Richard Peduzzi. ’’ In Germany this orientation was represented primarily by directors trained in the former East Germany and associated with the Berlin Volksbu¨hne, such as Frank Castorf, Christoph Marthaler, and Einer Schleef. In France major new directors emerged from the suburban theaters, following the pattern established by Che´reau—first Daniel Mesguich (later director of the Conservatoire) and Ste´phane Braunschweig (later director of the National Theater of Strasbourg), and following them, Stanislas Nordey and Olivier Py.

The other major experimental director of this brilliant period, Yevgeny Vakhtangov (1883–1922), was said to blend the realism of Stanislavsky with the formalism of Meyerhold, but his early death saved him from sharing their fall from official favor. Germany’s major prewar director, Max Reinhardt (1873–1943), less associated than Jessner or Fehling with expressionism and less radical in his experimentation than Meyerhold or Tairov, was nevertheless a major force in introducing more stylized production into the largely realistic theater inherited from the previous century.

His work was supplemented by that of Michel Saint-Denis (1897– 1971), Copeau’s nephew, who brought some of Copeau’s inspiration from France. Along with the work of these major directors, a new generation of actors, headed by John Gielgud (1904–2000) and Laurence Olivier (1907–1989), inaugurated a golden age of British acting. AFTER WORLD WAR II A set from Max Reinhardt’s 1932 production of the play Helen at the Adelphi Theater in London. ªHULTON-DEUTSCH COLLECTION/CORBIS his famous production of The Good Soldier Schweik in 1927–1928.

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