Alexandra Yakovlevna Glama-Meshcherskaya

Reading notes

• To A. N. Kanayev, 26 March 1883. Moscow. §7 Glama

  Alexandra Yakovlevna Glama-Meshcherskaya, a leading actress of Korsh's company who left along with Pisarev and Andreyev-Burlak in this same walkout.

• To A. S. Suvorin, 7 October 1888. Moscow. §5 Glama

  The actress Alexandra Glama-Meshcherskaya, already established in this corpus as a "The Summer Husband" cast member and recurring Korsh-theater figure (see \S18-19, and earlier and); reused here as the same identity, not a fresh mention.

• To I. L. Leontyev, 2 November 1888. Moscow. §5 The second time Glama played it

  Alexandra Glama-Meshcherskaya, a leading actress at Korsh's theater, took over the role of Popova for the second performance only, after Rybchinskaya's accident, then left for Petersburg -- distinct from Rybchinskaya, who originated the role and is expected back by Sunday (see \S4-5 disambiguation).

• To A. S. Suvorin, 3 November 1888. Moscow. §11 Glama-Meshcherskaya has left for Petersburg

  Alexandra Glama-Meshcherskaya, a leading actress at Korsh's theater already established in this corpus, distinct from Rybchinskaya even though both are Korsh actresses affected by the same run of mishaps.

• To I. L. Leontyev, 7 November 1888. Moscow. §10 Glama-Meshcherskaya has quarreled and is leaving Korsh's company

  Alexandra Glama-Meshcherskaya, the same actress ("Glama") who stepped into the female lead of "The Bear" after Rybchinskaya's coffeepot accident, per (\S5); there she had merely gone off to Petersburg after her one substitute performance, and here, five days later, Chekhov reports the fuller story -- she has quarreled with and is leaving Korsh's company entirely. The "sick cats in psychopathic plays" line wryly nods to the overwrought melodramatic roles she specialized in.

• To I. L. Leontyev, 11 November 1888. Moscow. §6 Glama, it seems, has made up again

  The actress Glama-Meshcherskaya, already established in (where she took over the female lead in "The Bear" after Rybchinskaya's coffeepot accident) and (where she quarreled with and left Korsh's company); the reconciliation reported here is left without further detail as to with whom, matching the source's own brevity. The companion letter to Suvorin of the same date instead reports her "raising a revolution" at Korsh's -- a related but not identical item, suggesting the situation was unsettled and reported differently to each correspondent on the same day.

• To A. S. Suvorin, 11 November 1888. Moscow. §7 Glama has raised a revolution at Korsh's.

  Alexandra Yakovlevna Glama-Meshcherskaya of Korsh's company, already established in this corpus under the fuller form in's headnote; this letter's "revolution" is not otherwise detailed and should be read as continuous with, though not further explained by, her earlier appearance.

• To I. L. Leontyev, 20 December 1888. Moscow. §3 Glama has left

  Alexandra Yakovlevna Glama-Meshcherskaya, already established in and as having quarreled with and left Korsh's company; her departure is confirmed here as the practical reason "The Summer Husband" cannot be revived with her in the role.

• To V. A. Tikhonov, 20 December 1888. Moscow. §3 Glama-Meshcherskaya

  Alexandra Yakovlevna Glama-Meshcherskaya, a leading actress of Korsh's company, reported here as seriously ill (caries of the upper jaw with neuralgia) and away from Moscow.

• To V. A. Tikhonov, 20 December 1888. Moscow. §3 Glama

  Shortened form of "Glama-Meshcherskaya," the same actress named earlier in this section; the two forms are used interchangeably in this period of Chekhov's correspondence and are treated as one entity.