Boris Glagolin Russian, American playwright, director - reformer and artist - innovator Date of Birth: 23.01.1879 Country: USA

Biography of Boris Glagolin

Boris Glagolin, a Russian-American playwright, director, reformer, and innovator, was one of the first cinematographers in Russia and a theater theorist. His real surname was Gusev, and he used literary pseudonyms such as Bedny Yorik and B.G. He was honored as an Artist of Ukraine in 1922. Glagolin's father, Sergey Sergeyevich Gusev (1854-1922), was a talented journalist and satirist who used pen names like Slovo-Glagol and Nota bene. He was well-versed in provincial life and published his works in over 40 newspapers and periodicals. Glagolin's father had a significant influence on his son's development, cultural identity, and worldview.

Glagolin started his creative career in the Saratov press and later lived in St. Petersburg, Samara, and Odessa before settling in St. Petersburg for the rest of his life. Throughout his nearly 40-year artistic career, Sergey Gusev wrote feuilletons, essays, and observations on everyday life for various newspapers and publications. He also experimented with playwriting and was well-known in the Russian literary community, earning high praise from renowned writers and journalists such as N.S. Leskov. Undoubtedly, Glagolin's talent had a significant impact on his son's development, cultural image, and worldview.

In 1894, Glagolin graduated from the 9th Saratov People's School, and in 1896, he completed his studies at the 1st St. Petersburg Real School. He then briefly attended the Law Faculty of St. Petersburg University as a non-degree student but soon dropped out to enroll in the Imperial Dramatic Courses. Glagolin began his stage career in 1894 at the Ochkinsky Theater in Saratov, a city with a rich theatrical tradition. By 1896, he was already performing at the Narodny Theater near Nevsky Gate in St. Petersburg, under the direction of E.P. Karpov. It was Karpov who recommended Glagolin to attend the Imperial Dramatic Courses, where he became a student in the following year, studying under V.N. Davydov and Y.E. Ozarovskiy.

During the summer of 1898, Glagolin performed at the Pskov People's Theater. His talent caught the attention of his fellow students from the St. Petersburg Dramatic Courses, who invited him to participate in the Pushkin celebrations in the Holy Mountains in 1899. While in Pskov, Glagolin prepared a speech for the opening of the season at the Narodny Theater, but the consecration did not take place, and his speech was never delivered. However, it was published the following year. During that summer, Glagolin performed in excerpts from "Eugene Onegin" and "Boris Godunov." In the summer of 1899, he joined the Pavlovsky Theater at the Mikhailovsky Theater, performing in Edmond Rostand's "Romanticists." Before the Pavlovsky season, he participated in a charity performance at Derviz Hall, where he performed in a production of Euripides' "Hippolytus." He also participated in the Literary and Artistic Circle in Ertelyev Lane.

In 1901, Glagolin completed the Dramatic Courses at the Theater School as an external student. In 1902-1903, he played the leading role in A.S. Suvorin's drama "Dmitry the Pretender." In 1903-1904, he performed in S.A. Naydenov's play "Children of Vanyushin" as Alexei. Glagolin's career in the Suvorin Theater began with controversy, as he aimed to surpass the renowned P.N. Orlenev by playing the role of Tsar Fyodor Ioannovich. The press initially reacted with caustic comments, but within a year, Glagolin received highly favorable reviews. His portrayal of the character had a significant impact on the success of the play, as he brought it closer to the "original" character created by A.K. Tolstoy. Glagolin's talent played a vital role in this premiere's success, especially considering the challenge of living up to the reputation and well-received performance of his predecessor.

On October 15, 1900, the Suvorin Theater staged "Tom Sawyer," a comedy in two acts written by Glagolin based on Mark Twain's novel. However, not all theater critics shared the same opinion about Glagolin's abilities.

In the summer of 1904, Glagolin worked as a director in Luga, where he led a theater and helped many actors, including V.P. Lachinov, who became one of his closest friends. In the same year, a new theater venue opened in the building of the "Bratya Eliseevy" trading firm. Glagolin's troupe performed "Hamlet" at this venue, which later became the home of the N.P. Akimov Comedy Theater.

In the winter of 1904-1905, Glagolin pioneered the concept of cabaret and theater miniatures in Russia. He organized the "Home Theater" in the office of the "Novoye Vremya" newspaper and laid the foundation for the cabaret and theater miniature forms that became popular in the 1910s. His unconventional and sometimes provocative approach drew both popularity and criticism. During a performance in Saratov, Glagolin shocked the city's administration by proclaiming "Workers of all countries, unite!" from the stage during the finale of the play "The Struggle for Happiness."

Glagolin's interpretation of the character Joan of Arc in Schiller's "The Maid of Orleans" in 1908 garnered significant attention and subsequently became one of his most successful roles. He portrayed Joan of Arc as a genius, rational, just, and incorruptible representative of the police force. This portrayal resonated with the audience and contributed to the success of the performance. Glagolin's performances received both praise and controversy, with critics divided on his abilities and the social and political implications of his roles.

In the 1909/1910 season, Glagolin's most notable performance was his benefit performance, where he chose to stage "The Youth of Louis XIV" by A. Dumas père. He played the young, kind, and generous king with a cheerful grace that captivated the audience. The performance included elaborate sets, including the Vincennes Palace and a live horseback riding scene.

Glagolin's popularity and earnings increased significantly over the years. By 1911, he held the official title of director and his annual salary rose from 60 rubles to 17,000 rubles. In 1911, he became the head of the newly formed Russian Film Society and planned several productions based on his own scripts. However, due to delays in the construction of a film studio, only outdoor shooting took place initially.

In 1914, Glagolin directed his first film, "The Coward," in collaboration with Baron R. Ungern. This film marked his directorial debut and featured one of A.I. Kuprin's early screenplays, although Kuprin later disowned it. Glagolin continued directing films, adapting works by renowned authors such as Leo Tolstoy and Anton Chekhov. However, some of his films faced censorship and were not released to the public.

During the revolutionary period in 1917, Glagolin starred as Treplev in Chekhov's "The Seagull," directed by S.M. Nadezhdin. He continued his involvement in the film industry, directing and producing propaganda films commissioned by the Ministry of Finance. These films aimed to promote patriotism and raise funds for the war effort.

Glagolin's career as a director and actor experienced ups and downs, and he faced conflicts with theater management and fellow actors. However, his innovative approach, controversial performances, and contributions to early Russian cinema solidified his place in the history of Russian theater and film.