Moscow Art Theatre production of Hamlet

The Moscow Art Theatre (MAT) production of Hamlet in 1911–12, on which two of the 20th century's most influential theatre practitioners—Konstantin Stanislavski and Edward Gordon Craig—collaborated, is particularly important in the history of performances of Hamlet and of 20th-century theatre in general.

The story of Craig and Stanislavski began in 1908 when the eccentric American dancer Isadora Duncan, who had a daughter with Craig, introduced the two to each other. Craig, an English theatre practitioner, had garnered interest for the symbolist and simplistic designs he brought to plays like Henrik Ibsen’s The Vikings at Helgeland. On the other end of the spectrum Constantin Stanislavski was creating a world of theatre based upon realism, the internal complexities of the mind, and the rise of psychology. As Benedetti stated, “Stanislavski hoped to use the production to prove that his recently developed 'system' for creating internally justified, realistic acting could meet the formal demands of a classic play”. After their meeting Stanislavski decided to invite Craig to help produce Hamlet for the 1910 season at the Moscow Art Theatre. One early setback of their attempt was that Stanislavski contracted a serious case of typhoid fever. This caused him take a leave of absence and delay the opening night. Hamlet eventually opened on 5 January 1912 [O.S. 23 December 1911]. The duo tackled this project when they were at the peak of their influence but also still crafting new unconventional ways to bring life to the stage. At times this led to conflict between the entire cast and crew but eventually gave birth to one of the most unique, polarizing, and impactful productions of all the twentieth century. Despite hostile reviews from the Russian press, the production attracted enthusiastic and unprecedented worldwide attention for the theatre, with reviews in Britain's The Times and in the French press that praised its unqualified success. The production placed the Moscow Art Theatre "on the cultural map for Western Europe", and it came to be regarded as a seminal event that influenced the subsequent history of production style in the theatre and revolutionised the staging of Shakespeare's plays in the 20th century. It became "one of the most famous and passionately discussed productions in the history of the modern stage."

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