page_title: Mikhail Shchepkin
hierarchical_section_title: Mikhail Shchepkin
caption_attribution_description: English: Portrait of Mikhil Schepkin
context_page_description: Mikhail Semyonovich Shchepkin was the most famous Russian Empire actor of the 19th century. He is considered the "father" of realist acting in Russia and, via the influence of his student, Glikeriya Fedotova, a major influence on the development of the 'system' of Konstantin Stanislavski. Shchepkin's significance to the Theatre of Russia is comparable to that of David Garrick to the English theatre.
  He distinguished between two kinds of actors, both of whom are dedicated to the art of acting: those who have developed the art of pretense on the basis of intelligence and reason; those who express feelings actually experienced by the actor in performance and work on the basis of "a flaming-soul, heavenly spark." Shchepkin considered the effect of the latter approach superior to that of the former. He was opposed to the principles advanced by the French playwright and philosopher Denis Diderot in his Paradox of the Actor, which inverted Shchepkin's evaluation.
context_section_description: Mikhail Semyonovich Shchepkin (Russian: Михаи́л Семёнович Ще́пкин, 17 November [O.S. 6 November] 1788, the village Krasnoe, Oboyan county, Kursk Province  — 11 August [O.S. 23 August] 1863) was the most famous Russian Empire actor of the 19th century. He is considered the "father" of realist acting in Russia and, via the influence of his student, Glikeriya Fedotova, a major influence on the development of the 'system' of Konstantin Stanislavski (who was born in the year in which Shchepkin died). Shchepkin's significance to the Theatre of Russia is comparable to that of David Garrick to the English theatre.
  He distinguished between two kinds of actors, both of whom are dedicated to the art of acting: (1) those who have developed the art of pretense on the basis of intelligence and reason; (2) those who express feelings actually experienced by the actor in performance and work on the basis of "a flaming-soul, heavenly spark." Shchepkin considered the effect of the latter approach superior to that of the former. He was opposed to the principles advanced by the French playwright and philosopher Denis Diderot in his Paradox of the Actor (published posthumously in 1830), which inverted Shchepkin's evaluation.
caption: Portrait by Nikolai Nevrev
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