| From the Archives |
[This
paper was presented at the University of Ottawa, Doukhobors and culture - Doukhobors and changing culture - transitions, changes, evolutions, over the last hundred years - pressures from within and without. When Lev Tolstoy began approaching some of his wealthy friends and acquaintances to raise money for the Doukhobor immigration, one of the benefactors he drew upon was Konstantin Stanislavsky. We don't have a record of Stanislavsky's financial contribution, but his tenure as the Artistic Director of the world's most famous theatre, the Moscow Art Theatre, is well documented. When it was time for the first shipload of Doukhobor immigrants to be readied and disembarked for Canada, who was in charge? Leopold Sulerjitski (aka Sulerzhitsky), the dramaturge of the Moscow Art Theatre. And who was perhaps the greatest benefactor of the Doukhobors at the time? None other than Leo Tolstoy, perhaps the greatest cultural icon of his time! The
cultural connection continued in Canada. The Canadian facilitator of
the immigration was James Mavor, a cultural and literary worker in his
spare time and acquaintance of George Bernard Shaw. When I interviewed
his daughter Dora Mavor some years ago, she showed me a little purse
that Prince Peter Kropotkin had presented her with when he had visited
her father and they had discussed a suitable location for the Doukhobor
settlement. Dora Mavor Moore became known as the mother of Canadian
Theatre, and many Canadians, no doubt some Doukhobors included, have
heard of her son, Mavor Moore, theatre practitioner and drama academic.
In a later connection, one of Mavor’s early successes was a Canadian
adaptation of Gogol’s great comedic hit, The Inspector General.
This entire document is available for download in .pdf format here. |
| From the Archives |