Stanislavski

I studied theater — Stanislavski — and English literature before I embarked on my music career, which was still being creative with words.

Roberts’ private and public lives converged, as if he were using Stanislavski’s sense memory in reverse, conjuring up weird scenes from his films as material for his personal use.

Yet one of the foremost champions of “An Enemy of the People” was none other than Konstantin Stanislavski, whose portrayal of Dr. Stockmann at a time of revolutionary upheaval in Russia informed his understanding of how an actor intuitively creates a role even in a politically charged drama.

He had written a show about the Moscow Art Theater’s 1923 tour of the United States with its director, Konstantin Stanislavski, and was planning to have a Russian translation presented by the company’s modern leader at a performance space that Stanislavski had built on the grounds of his family’s factory.

So, when Nelson wrote “Our Life in Art” — a nod to Stanislavski’s book “My Life in Art” — in fall 2020, he recruited Volokhonsky to translate it.