1. MARIA B. IGNATIEVA
ASSOCIATE PROFESSOR, DEPARTMENT OF THEATRE (OSU-LIMA)
ASSOCIATED FACULTY, DEPARTMENT OF SLAVIC LANGUAGES AND
CULTURES (OSU-COLUMBUS)
THE OHIO STATE UNIVERSITY
Ignatieva.1@osu.edu
CV CONTENTS
Expertise and Education _______________ 1
Academic Appointments________________2
Teaching____________________________ 2
Publications and Creative Works_________ 2 -5
Public Presentations___________________ 5-7
Directing ___________________________ 7-8
Professional Organizations______________8
References __________________________9
EXPERTISE
Russian/Comparative Dramatic Literature and Theatre History
The Stanislavsky Studies
Contemporary Russian Theatre and Film
Soviet Theatre and Film
Russian Culture and Cultural Studies
Theatre for Young Audiences (Directing and Writing for Children)
EDUCATION
Ph.D. Dissertation, "Grotesque and Eccentrics in Russian Soviet Theatrical Art: Theory
and Practice of Konstantin Stanislavsky, Eugene Vakhtangov, Vsevolod Meyerhold, and
Michael Chekhov." Moscow State Institute of Theatrical Art (GITIS), September 1988.
M.A. "Pavel Markov and Boris Alpers on the Theory and History of Acting." Moscow
State Institute of Theatrical Art (GITIS), May 1984, summa cum laude.
ACADEMIC APPOINTMENTS, EMPLOYMENT
Associate professor, Department of Theatre, Ohio State University-Lima, September
2005-present;
Assistant Professor, Department of Theatre, Ohio State University-Lima, September 1999
to 2005;
The Children's Theatre Program coordinator, Instructor, Department of Theatre, Ohio
State University-Lima, 1995-1999;
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2. Visiting Assistant Professor, Department of Theatre, Ohio State University-Lima, 1994-
1995;
Assistant Professor, the Moscow Art Theatre School-Studio. 1989-1993;
Free-Lance Theatre and Cinema Critic, Moscow, 1988-1989
Graduate Student, Teaching Assistant, Moscow State Institute of Theatrical Art (GITIS),
August 1984-1988;
Senior Curator of Youth, Children and Puppet Theatres, The Division of Theatre, The
USSR Ministry of Culture, 1984-1987.
TEACHING EXPERIENCE
Introduction to Theatre; Great Ages of Theatre; Fundamentals of Script Analysis; Theatre
History and Lit; Acting Fundamentals; Directing; Teaching and Learning with Drama;
Russian Culture; and also graduate seminars “Chekhov, Stanislavsky, and the Moscow
Art Theatre” (Spring 2008, Columbus), and “Russian and Baltic Theatres,” Spring 2004.
GUEST TEACHING:
“ From Text to Performance: Working on the Script and Performing a Puppet Play,” at
the Osijek Drama Academy, Croatia, November 2014.
"Stanislavsky and the Moscow Art Theatre", graduate seminar, University of Helsinki,
Department of Theatre, autumn 2001.
“The Stanislavsky System”: Theory and Practice, the Ohio Northern University, spring
1996.
Courses taught at the Moscow Art Theatre School Studio:
Origins of Russian Theatre and Drama; the XVII - XVIII Century Russian Drama and
Theatre; XIX Century Russian Drama and Theatre; Anton Chekhov and The Russian
Theatre of the XX Century; the History of Russian Acting: XVIII-- XX Centuries;
directing Styles: From Stanislavsky to Kama Ginkas; The Russian Soviet Theatre 1917—
1991; theatrical Traditions of the USSR's Republics.
PUBLICATIONS AND CREATIVE WORKS
Books
Stanislavsky and Female Actors: Women in Stanislavsky’s Life and Art, University Press
of America, 2008.
Cited in several studies of Stanislavsky since its publication.
Chapters in Books
The Routledge Companion to Mikhail Chekhov, ed. Yana Meerzon and Marie-Christine
Autant-Mathieu, London: Routledge, April 2015, Forthcoming
Author of chapter: “Mikhail Chekhov: Homo Ludens.”
The Routledge Companion to Stanislavsky, ed. Andrew White, London: Routledge, 2013
Author of chapter: “ Stanislavsky, The Amateur: The Stanislavsky Circle and the
Society of Art and Literature.”
International Women Stage Directors, ed. Anne Fliotsos and Wendy Vierow, University
of Illinois Press, 2013.
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3. Author of chapter: “Russian Women Stage Directors.”
Adapting Chekhov: The Text and its Mutations, ed. J. Douglas Clayton and Yana
Meerzon, Routledge (series Routledge Advances in Theatre and Performance Studies),
New York, London, 2012.
Author of chapter: “The Flight of the Dead Bird: Chekhov’s The Seagull and
William’s The Notebook of Trigorin.”
Theatre and Performance in Eastern Europe: The Changing Scene, ed. By Dennis
Barnett and Arthur Skelton, The Scarecrow Press, Inc., 2008
Author of essays: “A Little Orchestra of Hope: Sergei Artsybashev.”
“Oleg Tabakov at the Moscow Art Theatre.”
Articles and Essays in Journals
“The Lessons from the Duke,” in the journal Stanislavsky, Moscow, February 2014.
“Links in the Chain,” in the collection of essays Dani Hvarsgogo Kazalista, Zagreb-Split,
2014, pgs. 365-374.
“The Flight of the dead Bird: Chekhov’s The Seagull and Williams’s The Notebook of
Trigorin,” an essay in the book “Adapting Chekhov: The Text and Its Mutations,”
Routledge, 2012, pgs. 57-67.
“Chekhov in America: Who is Vanya?” at the Nezavisimaia Gazeta, Moscow, 01.18.
2010.
“Glikeria Fedotova, Stanislavsky’s Artistic Mother,” in Slavic and East European
Performances, Spring 2008, pgs. 74-80.
“To Moscow, to Moscow…” Tuminas’ “Three Sisters” in Slavic and East European
Performances, Winter 2007, pgs. 82-89.
“Evgenii Onegin at the Bolshoi Theatre: A Purely Russian Affair,” Slavic and East
European Performances, Spring 2007, vol. 27, #2, pgs. 87-89
“The Fortune Favorite” in Slavic and East European Performances, Vol.# 25, Spring
2005, pgs. 70-79.
“Adieu, Adieu, Adieu, Remember Me: Stanislavsky and Irina Rozanova” Theatre History
Studies, 2004, pgs. 25-34
“Nord-Ost: Tragic Nights in the Theatre,” in Slavic and East European Performances,
Vol.23, #1, Winter 2003, pgs. 34-37.
“Konstantin Stanislavsky and Victor Sadovnikov,” excerpts from Victor Sadovnikov's
memoirs, in Ignatieva's translation, with the translator's comments, in Slavic and East
European Performances, Vol.22, #3, Fall 2002, pg. 57-67.
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4. “The Moscow Art Theatre Stepdaughter: Stanislavsky and Olga Gzovskaya,” in Theatre
History Studies, volume 22, June 2002, pgs. 177-193
“Hedda G.” in The Western European Stages, Special Issue, volume 14, Issue 1, winter
2002, pgs. 71-72.
"Stanislavsky's Last Othello," in Special issue of Murcia's "Cuadernos de Filología
Inglesa," devoted to the reception of Shakespeare in Europe, volume 7.2., summer 2001,
Spain.
"Russian Publisher: An Interview with Sergei Nikulin," in Slavic and east European
Performance, vol.21, no.2, summer 2001.
"Theatrical St. Petersburg." (Major events in the St. Petersburg Theatre History From
1703 to Present). The CD-ROM catalog of the exhibit Spectacular St. Petersburg,
Columbus: Columbus Museum of Art, 1999.
"Boris Anisfeld: A Portrait of a Theatre Artist," Novoye Russkoye Slovo, in Russian,
New York, December 1996.
"Alice in Wonderland: Oksana Mysina in Dostoyevsky's
Show," Theatre Life, Moscow, February 95.
"Pasha Kaplevich: Portrait of a Contemporary
Russian Designer" in Theatre Design and Technology, autumn 1994.
"The Wheel of Misfortune: Intrigue and Love at the Bolshoi Drama Theatre," co-
authored with Joe Brandesky,
in Slavic and East European Performance Journal, Vol. 13, No. 3, autumn 1993.
"We Are All Different: Eastern European Theatre Festival at Miami University," in
Novoye Russkoye Slovo, New York, December 3, 1993.
Creative work
Plays for Children:
The Journey of a Duppy Boy, a play for the Young Audiences based on Jamaican
Folklore, Autumn 2013
Kashtanka, the Buckeye Dog, a play for the Young Audiences based on a short story of
the same title, by Anton Chekhov, Autumn 2010.
The Swan Lake, a play for young audiences based on Peter Ilych Tchaikovsky’s Ballet of
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5. the same Title, Autumn 2007.
My Jewish dreams, original play for young audiences, October 2005.
Space Mystery, original play for young audiences, July 2002.
The Prince and the Puppet, original play for young audiences. July 2000.
Once Upon a Time In the World, Original play for young audiences, based
on the world folklore, September 1999.
Rumplestiltskin, a play, based on a fairy tale of the same title, September 1998.
Momotaro, the Peach Man, original play, based on Japanese Folklore,
September 1997.
The Snow Girl, original play based on Russian folklore, July 1996.
PUBLIC PRESENTATIONS
“With or Without the System? Stanislavsky’s Work with the Moscow Art Theatre Female
Actors,” at International Federation for Theatre Research (IFTR/FIRT), Warwick, UK,
July 2014.
“Hauptman and Modern Russian Theatre,” at Comparative Drama Conference, Baltimore
2014.
“Defending the Duke: Stanislavsky and Duke Meiningen,” at American Society for
Theatre Research, Dallas, November 2013;
“Links in the Chain: The Contemporary Croatian Playwrights,” a guest at the 40th
International Conference of Croatian Theatre and Literature, Hvar, May 2013.
“Numbers in Chekhov’s Plays,” at the Comparative Drama Conference, Baltimore, April
2013.
“Witnessing the World Getting Out of Joint: Stanislavsky’s Last Hamlet,” at the
international conference History, Memory, Performance, University of Ottawa, April
2012.
“Chekhov’s Influence on Vampilov’s Play The Duck Hunting,” – International
Chekhov’s conference, Columbus, OH, December 2010.
“Lonely Lives: Reversing Hauptmann,” at the XVI Congress of the International
Federation for Theatre research (IFTR/FIRT), Munich, July 2010.
“Children in Chekhov’s Plays and Prose,” presented as a keynote speaker at the Graduate
Symposium in the Department of Theatre, OSU Columbus, May, 2010.
“Did Stanislavsky butcher The Cherry Orchard?” Presented at the Comparative Drama
Conference, Los Angeles, March 2009.
“My Jewish Dreams,” presented at the II International conference on Arts and Society, in
Kassel, Germany, August 2007.
“Stanislavsky and his Mother,” at the 15th International Congress for Theatre Research
(IFTR/FIRT),
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6. Helsinki, July 2006.
“Chekhov and Stanislavsky,” a guest-speaker at the University of Windsor, Ontario,
Canada, November
2005.
“Citizen Stanislavsky,” at the Annual Conference of The International Society for
Theatre Research in Maryland, July 2005.
"Sacred Body versus Profane Body: Mikhail Chekhov's Acting, Russian Period," at the
IFTR conference in Krakow, Poland, April 2003.
"Inspector General and Mikhail Bakhtin's Carnival Theory," at the Comparative drama
Conference, Columbus, April 2003.
"Chekhov in the 20th
Century Russian Theatre,"
at the XIV International Congress of Theatre Researchers, Amsterdam, July 2002.
"Vladimir Mirzoev, The Destroyer of the Classical Theatre,"
at the Moscow Art Theatre—American Repertory Theatre MFA Program,
Moscow, December 2001.
"Stanislavsky's Last 'Othello':
at the International Federation of Theatre Researchers Conference (IFTR/FIRT) in
Sydney, Australia, summer 2001.
"Sergei Artsybashev, and the New Trends in Russian Directorial Theatre:"
at the International Federation of Theatre Researchers Conference in Sydney,
Australia, summer 2001.
"Word and Image in 20th
Century Russian Theatre": at the 7th
Performance Studies
Conference in Mainz (Germany), March 2001.
"Aristotle and Pretty Woman:" at the Annual Conference of the American Society of
Theatre Researchers, New York, autumn 2000.
"Actresses in the 19th
and the early 20th
Centuries Russian Theatre:" at the VIII
International Congress for Slavic and East European Studies, Tampere, Finland, August
2000.
"Theatricality of Nature as Konstantin Stanislavsky's Religion:" at the American Society
of Theatre Researchers' Conference, Washington, DC, autumn 1998.
"Stanislavsky and Written Texts:" at the XIII World Congress of the International
Federation of Theatre Researchers in Canterbury (UK), summer 1998.
"The Moscow Art Theatre and The First Studio:" at the American Association for Theatre
in Higher Education, Chicago, August 1997.
"Boris Anisfeld and Russian Pre-Revolutionary Russian Theatre": at the Mid-America
Slavic Conference in Lawrence, KS, March 1997.
"Women in Russian Theatre":
"Mariia Savina" by Catherine Schuler; "Nikulina-Kositskaya" by Mary
Zirin; "Women In and Behind Stanislavsky's Books" by Sharon M.
Carnicke.
Presented as discussant at the panel at the All American Associations for
Slavic Studies, Convention in Boston, autumn 1996.
"Gogol, the Grotesque, and Russian Directors"; "Pasha Kaplevich and Contemporary
Russian Design":
at the American Association for Theatre in Higher Education, Chicago, summer
1997, San-Francisco, August 1995.
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7. "Russian Classical Repertoire on the Contemporary Moscow Stages:" at the American
Association for Theatre in Higher Education, Chicago, August 1994.
"Moscow Art Theatre: Myths and Reality": at The University of Texas at Austin,
February 1994.
"Recent Theatre Seasons in Moscow and St. Petersburg:" at the University of Texas at
Austin, February 1994.
"Impact of Political Change on the Theatre in Eastern Europe": at the Eastern European
Theatre Conference, in Oxford, Miami, Ohio, October 1993.
"The Best of Contemporary Russian Theatre in the Context of Culture and Economy":
at the Center for Post-Soviet and East European Studies, University of Texas in
Austin, Southwest Texas University in San Marcos, and McNeese State
University in Lake Charles, LA, September 1993.
"Russian Avant-Garde Theatre: 1900-1920's:" at the University of Pennsylvania,
Philadelphia, spring 1993.
"Russian Theatre: Before and After Perestroika: " at The Ohio State University,
Columbus, May 1992.
"Grotesque in Russian 20th
century Theatre," at the Slavic Department, Harvard
University, October 1989.
DIRECTING
At the Ohio State-Lima:
“The Journey of a Duppy Boy,” by Maria Ignatieva, Autumn 2013.
“The Foreigner,” by Larry Shue, Spring Semester 2013.
“Stars in the Morning Sky,” by Alexander Galin. Winter 2012.
“Kashtanka, the Buckeye Dog,” by Maria Ignatieva, adapted from a short story by Anton
Chekhov, Autumn 2010.
“An Inspector Calls,” by J. B. Priestley, Spring 2010.
“The Swan Lake,” by Maria Ignatieva, a play for children, adapted from the ballet by
Peter Ilych Tchaikovsky, Autumn 2007.
“Hedda Gabler,” by Henrik Ibsen, Spring 2007.
“Sylvia,” by A.R. Gurney, 2006.
“The Glass Menagerie,” by Tennessee Williams, 2005.
“Mixed Emotions,” by Richard Baer, OSU-Lima Chamber Theatre, Spring 2004.
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8. “My Jewish Dreams,” by Ignatieva, Autumn 2004.
“Travelling Americana,” based on short stories and one-act plays by the American
playwrights and writers, OSU-Lima Chamber Theatre, Winter 2002.
“Space Mystery,” Autumn 2002.
“The Prince and the Puppet,” Autumn 2000.
“All This and Moonlight,” by Earl H. Johnson, Spring 2000.
“Once Upon a Time In the World,” Autumn 1999.
“Rumpelstiltskin.,” Autumn 1998.
“The Seagull,” by Anton Chekhov, Spring 1998;
“Momotaro, the Peach Man,” Autumn 1997.
“The Marriage of Figaro,” co-directed with Joe Brandesky, Spring 1997;
“Snowgirl,” Autumn 1996.
“The Little Prince in Our Classroom,” based on Antoine De Saint-Exupery’s The Little
Prince, 1995.
At The Ohio Northern University:
“Evening of the Absurd: Ionesko and Ives,” Winter 1996.
“The Proposal,” by Anton Chekhov and “Love” by Ludmila Petrushevskaya, Spring 1995
GRANTS
2014 – The OSU outreach grant for regional campuses in the amount of $2,000 to
conduct a puppet workshop and present a performance based on my play The Journey of
a Duppy Boy, at the Croatian Drama Academy, in Osijek, Autumn 2014.
2013—The OSU research grant in the amount of $700 as a guest speaker in Croatia, at
the conference Dani Hvarskogo Kazalista.
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9. 2010 -- OSU-Lima Research Committee grant in the amount of 2,500 to conduct research
in Moscow and St. Petersburg on female directors of the 20th
and 21st
centuries;
2007 – Overseas matching grant from in the amount of $500 the OSU College of the Arts
to present a paper in Germany at the International Arts and Humanities Conference,
Kassel, Germany;
2006-2007, the OSU Research Committee Grant in the amount of $1,500;
2005-2006, the OSU Outreach grant in the amount of $ 3,000 to conduct a series of
theatre workshops with the schoolchildren in the area of North-Western Ohio.
Coca-Cola Critical Difference for Womenin the amount $5,000. 2004-2005.
PROFESSIONAL AFFILIATIONS:
International Federation for Theatre Research
American Society for Theatre Research
REFERENCES
Professor Sharon Maria Carnicke, Associate Dean of the School of Arts, University of
Southern California in Los-Angeles.
Professor Felicia Hardison-Londre, Curator Professor, Department of Theatre, University
of Missouri-Kansas City;
Professor William Worthen, Department of Theatre, Barnard College, Columbia
University, New York, NY;
Professor Joe Brandesky, Department of Theatre, OSU-Lima.
Professor Boris Senker, Zagreb, Member of Croatian Academy of Science and Arts.
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10. 2010 -- OSU-Lima Research Committee grant in the amount of 2,500 to conduct research
in Moscow and St. Petersburg on female directors of the 20th
and 21st
centuries;
2007 – Overseas matching grant from in the amount of $500 the OSU College of the Arts
to present a paper in Germany at the International Arts and Humanities Conference,
Kassel, Germany;
2006-2007, the OSU Research Committee Grant in the amount of $1,500;
2005-2006, the OSU Outreach grant in the amount of $ 3,000 to conduct a series of
theatre workshops with the schoolchildren in the area of North-Western Ohio.
Coca-Cola Critical Difference for Womenin the amount $5,000. 2004-2005.
PROFESSIONAL AFFILIATIONS:
International Federation for Theatre Research
American Society for Theatre Research
REFERENCES
Professor Sharon Maria Carnicke, Associate Dean of the School of Arts, University of
Southern California in Los-Angeles.
Professor Felicia Hardison-Londre, Curator Professor, Department of Theatre, University
of Missouri-Kansas City;
Professor William Worthen, Department of Theatre, Barnard College, Columbia
University, New York, NY;
Professor Joe Brandesky, Department of Theatre, OSU-Lima.
Professor Boris Senker, Zagreb, Member of Croatian Academy of Science and Arts.
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