Stanislavski Studies最新文献

{"title":"Ragpickers & radical Naturalism:the conflicted discourse of Stanislavsky in Australia and Aotearoa New Zealand, part two","authors":"J. Marshall","doi":"10.1080/20567790.2022.2081768","DOIUrl":"https://doi.org/10.1080/20567790.2022.2081768","url":null,"abstract":"ABSTRACT In a previous article for Stanislavski Studies I examined the discourse in Australia and Aotearoa New Zealand regarding Stanislavsky, providing a series of descriptive snapshots of how his name is invoked in teaching within the region. From this and the concluding piece published here, I argue that although theatre and training have evolved over the last forty years, the symbolic capital associated with Stanislavskian realism remains relatively unchanged. Ian Maxwell’s contention that Australasian practitioners are “bowerbirds” who scavenge detritus to adorn idiosyncratic theatrical assemblages holds true. Artists and pedagogues see Stanislavskian technique as part of an instrumentalised “toolkit” which could potentially give the precarious actor an edge within a restricted labour market. Glenn d’Cruz however suggests that actors might be considered akin to Walter Benjamin’s ragpickers, producing pulpy theatrical fusions out of the refuse of history. The at times overdetermined political, discursive and ideological baggage associated with Stanislavsky persists in rendering him a problematic figure within teaching and practice, even as the identification of Stanislavsky with character-based social realism offers precedents for new, radical dramaturgies.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"19 1","pages":"139 - 150"},"PeriodicalIF":0.2,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87043850","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Zero zone in Stanislavski’s practice","authors":"Tamur Tohver","doi":"10.1080/20567790.2022.2048239","DOIUrl":"https://doi.org/10.1080/20567790.2022.2048239","url":null,"abstract":"ABSTRACT The current provocation explores what could be behind Konstantin Stanislavski’s claim that his teaching is neither a method nor a system, as it is unfinished. Alongside the complex of techniques and the worldwide influence it has on contemporary performing art, was there a special area that the master perceived incomplete? Could this be connected to authoritarian theatre-making (which has been recently acknowledged in the field), where the relationship in the actor-director dyad remains hierarchical and evokes a continuous conflict (as a manifestation of stage fright) between them? I argue that on Stanislavski’s personal path as an actor from stage fright to self-confidence, alongside the practical exercises which he designed according to Yoga, he also perceived the importance of Vedic philosophy itself to the performing arts. Via application of Stanislavskian craft, one can experience the absolute truth and higher consciousness, which could replace the internal and external confrontation with fruitful creative outcomes in a rehearsal studio – if practiced perfectly. Unfortunately, the methodology to support the philosophical (ethical) side of the system remained undeveloped by him when he passed away. Zero Zone unique psychosomatic praxis is designed according to Yogic Abhyasa and Vairagya principles to enhance the exchange between actor and director in the creative process to reach the higher aims, described already by Stanislavski. The current paper supports writings on the spiritual aspect of the Stanislavskian system, self-cultivation practices in performing arts and executive coaching.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"42 1","pages":"83 - 99"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86678837","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Crosspoints: an integrative acting system","authors":"R. Marsden","doi":"10.1080/20567790.2022.2036426","DOIUrl":"https://doi.org/10.1080/20567790.2022.2036426","url":null,"abstract":"“how” and “why” often remains open to interpretation’ (Postlewait 2009:1). Aquilina is explicit in this chapter about his choice of period and material – it is his decision ‘to emphasise collective creativity and autonomous action’ that ‘practically dictated the period of amateur theatre’ that he focusses on. He admits, in other words his own bias when selecting material based on his particular research agenda, determined by his chosen frame of ‘cultural transmission theory’. Chapter 5 – Meyerhold: Bias in transmission processes, and chapter 6 – Lesser-known names: Rediscovering female voices, I have already discussed above. In his concluding chapter Aquilina draws together all his case studies and reiterates his thesis and method, listing 7 axioms about modern theatre in Russia. This is followed by notes to each chapter, references and index. In addition to his analysis of each case study and his explicit use of cultural transmission theory, Aquilina ends each chapter with a series of practical exercises based on the work of the practitioner/practice covered in that chapter. These include a series of ‘organizational principles when running transmission workshops’ following the conclusion. Modern Theatre In Russia: Tradition Building and Transmission Processes is a tightly argued and extensively researched analysis of the Russian Theatre scene in the early decades of the 20 c. It brings to the fore hitherto neglected individuals who contributed significantly to the artistic culture of the time as well as re-examining canonical figures like Stanislavski and Meyerhold via a narrow focus on lesser-known material through the lens of cultural transmission. By employing this particular theoretical frame Aquilina is able to draw out new insights and identify parallels with current practice – comparing Meyerhold’s study of the past, and his exploration of earlier theatrical approaches in a laboratory setting, with 21 century Practice as Research. What I was particularly struck by when reading the book was the importance of understanding how cultural practices are transmitted through a variety of modes and how those processes of transmission involve both transmitter and receiver in what can be a mutually rewarding and richly creative exchange. At a time when concerns over cultural appropriation and calls to ‘decolonise the curriculum’ are ubiquitous this book addresses the question of cross-cultural communication, interaction, and tradition building in a fascinating and innovative way. I would highly recommend it to anyone interested in Modernism, the Russian Theatre, Acting and Actor Training and in the multifarious ways in which disparate cultures are able to enrich each other through art.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"47 1","pages":"103 - 105"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79874821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The first 10 years","authors":"P. Fryer","doi":"10.1080/20567790.2022.2038447","DOIUrl":"https://doi.org/10.1080/20567790.2022.2038447","url":null,"abstract":"Ten years ago, with the invaluable support of Andrew Eglinton, who was then our research assistant at Rose Bruford College, we launched an e.journal. The chosen title for this was (and still is) Stanislavski Studies; making the decision, not without controversy, of adopting the “i” spelling of Konstantin Sergeyevich’s name, in order to conform to the decision taken by the late Professor Jean Benedetti whose work had been so influential in developing the research centre from which this journal originated. Although I will happily take the credit for creating the journal, it was not originally my idea. This came from a conversation I had with my Principal, Michael Earley. He was very interested in the work that I had done setting up The Stanislavski Centre at the College in 2007. We discussed possible ways forward, and Michael suddenly said, “ . . . why don’t you start a journal? . . . ” Although Michael had had experience in publishing, I had not. So I launched into this new venture with the foolish optimism of the ignorant – how difficult could it possibly be? It did not take very long to find out. With little resources, and even less expertise, we published the first edition, online in 2012, comprising an introduction by Anatoly Smeliansky, articles by Sergei Tcherkasski, Bella Merlin and John Gillett, and a book review by David Matthews. Our first print edition (Vol.3/No.1) was published by Bloomsbury in May 2015. But this new relationship was to be short-lived and by the time our November edition appeared Routledge/Taylor and Francis had become our new home, and we have been there ever since. Ten years can pass very quickly, and here we are publishing Vol. 10/No.1. How best to mark this milestone? A very important part of the success of this journal has been the support and wise counsel that we have received from our Editorial Advisory Board, a substantial number of whom have been with us throughout this journey. So, it seemed appropriate that they should make a contribution to this anniversary issue. I approached both the members of the journal’s editorial advisory board, and the advisory board of The Stanislavsky Research Centre, and asked them to reflect, briefly on their experience of and relationship with Stanislavski over the last decade. What follows is some of those responses (we plan to include more in our November edition).","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"8 1","pages":"3 - 8"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83041816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The power of action (using physical action to find words)","authors":"Sue Dunderdale","doi":"10.1080/20567790.2022.2025565","DOIUrl":"https://doi.org/10.1080/20567790.2022.2025565","url":null,"abstract":"ABSTRACT Ever since I formed the Theatre Company Head for Heights with Professor Catherine Boyle (King’s College Dept of Spanish and Latin American Studies) and Dr Karen Morash (Lead Academic Tutor, Rose Bruford College, BA in Theatre Studies), we have worked with actors and writers to create a method of translation that seeks to discover the essential meaning of the original text through the use of physical action. This article will describe the rehearsal method, that uses physical action to arrive at the structure of a play. It will then show why and how we adapted this method in order to work as a group on the translation of a play, to enable the translator to produce a text that truly conveyed the culture from which the play came.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"33 1","pages":"69 - 81"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87991937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Stanislavsky, Viewpoints and their influence on the theory of Crosspoints training","authors":"Stephen E. Atkins","doi":"10.1080/20567790.2022.2050072","DOIUrl":"https://doi.org/10.1080/20567790.2022.2050072","url":null,"abstract":"ABSTRACT This article proposes overlapping intentions between Stanislavsky’s “system” and Mary Overlie’s Six Viewpoints. The comparison highlights the difference between the episteme, or the organization of “materials,” and the methods, exercises and techniques meant to outline them. The author discloses how this distinction inspired the assembly of the Crosspoints Acting System through practice-based research. As an acting system, Crosspoints integrates with other acting methods by way of introducing new metaphors and models for creating a role that are based on Archetypes. The practices of the Crosspoints include movement-based forms of improvisation called Image Studies and give actors imaginary, emotionally charged, embodied resources to call upon when a personal memory life-based circumstance may be too challenging or inappropriate. As a result, the combined lenses of Stanislavsky’s “system’, outlining the Mind, Will, and Feeling of the actor, and Overlie’s Viewpoints, suggesting a “horizontal” perspective in acting, give us an approach that is inductive and provides actors with virtual resources to contrast and support their real-life emotional resources. Crosspoints give actors open-ended ways to create on their own terms. As a tool for teaching, directing and rehearsing, they propose a way to model the conflict and emotional content of a scene outside the constraints of the narrative text which may shuttle historical and cultural biases.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"24 1","pages":"55 - 67"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90955615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Stanislavsky Research Centre in partnership with DAMU – Theatre Faculty of the Academy of Performing Arts in Prague (AMU)","authors":"","doi":"10.1080/20567790.2022.2042901","DOIUrl":"https://doi.org/10.1080/20567790.2022.2042901","url":null,"abstract":"","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"14 1","pages":"107 - 107"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84388260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Modern theatre in Russia: tradition building and transmission processes","authors":"Julian Jones","doi":"10.1080/20567790.2021.2011078","DOIUrl":"https://doi.org/10.1080/20567790.2021.2011078","url":null,"abstract":"","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"10 1","pages":"101 - 103"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78657759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In plain sight: hidden Stanislavski - part one","authors":"Eric Hetzler","doi":"10.1080/20567790.2022.2035908","DOIUrl":"https://doi.org/10.1080/20567790.2022.2035908","url":null,"abstract":"ABSTRACT A quick search of acting texts on Amazon UK returns more than 10,000 results. This is a staggering number of books about acting. Certainly, there are duplications, and a quick scroll shows that not all of them are how-to books. But even if these amounted to 90% of the total, that’s still 1000 acting texts. Many of them will be by teachers espousing their own special technique that they have developed over years of performance experience and teaching. This presents some questions: just how “original” are these techniques? How many of them merely re-name the ideas of Konstantin Stanislavski without crediting him? How many even know that their ideas originated from him? As we consider the legacy of Stanislavski in the public mind and his contributions, it is worth exploring where he hides. In this paper, the author will examine these issues and ideas asking the question: is it possible that Stanislavski’s ubiquity is such that he has become hidden and that people are no longer aware of what is his?","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"42 1","pages":"21 - 31"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87479187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On the 100th anniversary of the Vakhtangov Theatre in Moscow and the erecting of the Cultural Center in Vakhtangov’s house in Vladikavkaz","authors":"V. Volkova","doi":"10.1080/20567790.2021.2012072","DOIUrl":"https://doi.org/10.1080/20567790.2021.2012072","url":null,"abstract":"ABSTRACT This article describes the celebratory events held at the state level from 2019 to 2021 dedicated to the centenary of the Vakhtangov Theatre in Moscow. The article also stresses a special role of Yevgeni Vakhangov’s home town Vladikavkaz in the history of the formation of the personality of the world famous theatre director and disciple of Konstantin Stanislavski. Vakhtangov was the best person to prove in practice the possibility of using the System in the development of many theatrical forms. Vladikavkaz is also a site where a cultural Centre will be opened in Yevgeni Vakhtangov’s reconstructed birth house in fall 2022. The Moscow period of Vakhtangov’s life described here emphasizes, on the one hand, the foundation of a drama studio which, by the end of Vakhtangov’s life, was transformed into The Third MAT Studio, and finally into the Vakhtangov Theatre. On the other hand, the article maintains the fact that the Vakhtangov Theatre in Moscow emerged from a drama school, which, in turn, is based on the collective work of Vakhtangov and his students during their practical studies and application of Stanislavski’s System in the drama studio. The results of that collective work are expressed in Vakhtangov’s use of fantastic realism (based on Stanislavski’s term of realism) on stage – a phenomenon he discovered while elaborating his unique method of directing.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"261 1","pages":"33 - 54"},"PeriodicalIF":0.2,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77441579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}