New-York tribune., 1922-11-12
Plenty of Experience Back
OF Kan,erny Project

During that afternoons interview I obtained
these biographical facts about M. Taeroff:
He was born in Russia in 1855, and at the age
Of fifteen years began TO act in amateur plays.
Finishing his primary education in 1904 he
entered the University of Petrograd and also
the Ramesargovskee Theater of that city. In
1906 he appeared for the first time as chief
manager in the Peredvignai Theater, putting
on Hamlet as his initial production. Not
satisfied with the theaters of Petrograd and
the chance they offered for his development
he went to the provinces and worked both as
actor and manager in the theaters of Riga, on
the Baltic Sea, and Simbrsk, on the Volga.
He returned to the New Theater Of Petro-
grad In 1911 to assume the duties of manager
and actor, but in 1912, still dissatisfied with
his dramatic work, he left the theater and re-
entered the University of Petrograd to study
law. But law could not hold him long. He
was invited to become the manager of the
Free Theater of Petrograd, where pantonimes
were being produced. He was particularly
interested in this form Of dramatic art, and his
managership of this theater produced "The
Veil of Pierrette" and "The Yellow Jacket"
After the closing Of the Free Theater in
Petrograd NJ TaeroR founded his own Karn-
erny Theater in Moscow. What the name
really means could not discover in the inter-
view, but it is name dear to the hearts Of all
the company and win never be changed. Be-
sides his regular work as manager of this
futurist theater NJ Taeroff has been engaged
to help stage some Of the operas at Moscow's
Boshoi Theater formerly the Imperial The
ater, but now called the Big Theater, where
wonderful opera and ballet is produced as of
old), and this summer was directing the sets
of the ballet sDjar Bird" Infinite pains is
taken in the production of all his works, and
nothing is presented to the public until it is
considered faultless In the technique of all
It's art.
Whatever else Of value the BoIsheviki chose
to destroy in Russia when they rose to power
they have kept their hands off the theaters
Throughout the revolution, I was told, the
sign might have been hung out, Business as
usual" In Moscow, at least, these theaters
never closed. In fact, believe the actors
were compelled by the government to carry on
their work for the benefit and pleasure Of ALL
AT first the seats were all free and the
doors were thrown open to as many faithful
members Of 'the party" as the Communists
are called, as could find room.
But now something like the old system OF
private ownership of the theaters has been
reinstated. ! believe they operate on govern
nent concession Seats are no longer free
The prices are so high, in comparison to the
average wages earned, that only the most
fortunate can attend. And yet the seats OF
every Moscow theater / attended were always
filled with row of standees present besides
And the Russian is such q lover of beauty
and art that if he has only 100000 rubles.
which is worth 25 cents at this writing. he
will spend half Of it for flowers, and the other
half for theater ticket and then go without
bread that night. He has missed SO many
meals in the last eight years that one or q
dozen more does not matter.
"A fTTs3affs4usr s.rra sa..ss