Stanislavski Studies最新文献

{"title":"Outside-in or inside–out? The conflicted discourse of Stanislavsky in Australia and Aotearoa New Zealand: part one","authors":"J. Marshall","doi":"10.1080/20567790.2021.2011080","DOIUrl":"https://doi.org/10.1080/20567790.2021.2011080","url":null,"abstract":"ABSTRACT This is the first of a pair of articles examining the discourse in Australia and Aotearoa New Zealand regarding Stanislavsky. Moving from a brief description of my own encounter with Stanislavsky in student and fringe theatre of 1990s Melbourne, I provide a series of descriptive snapshots gathered through an informal survey of how Stanislavsky is invoked in teaching and practice in the region. I conclude 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. One clear irony emerges, namely that although Stanislavsky considered his focus to be the practice of acting, his methods are most often taught as an aid in analysing written playscripts – perpetuating a distinction between historical “outside in” psychological approaches, versus allegedly more innovative “inside out” methods. Stanislavskian concepts are, in essence both remembered and forgotten when navigating acting in the region today. These tensions within Stanislavskian discourse complicate his reputation even as his link with realist dramaturgy ensures his relevance. The rhetorical, ideological and political implications of these associations are further developed in the second article to follow.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"1871 1","pages":"9 - 20"},"PeriodicalIF":0.2,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89891133","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":"Stanislavski studies 9.2","authors":"P. Fryer","doi":"10.1080/20567790.2021.1973277","DOIUrl":"https://doi.org/10.1080/20567790.2021.1973277","url":null,"abstract":"","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"28 1","pages":"117 - 118"},"PeriodicalIF":0.2,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84419929","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":"Stanislavski. Lust for life, a documentary","authors":"Michael Earley","doi":"10.1080/20567790.2021.1970398","DOIUrl":"https://doi.org/10.1080/20567790.2021.1970398","url":null,"abstract":"","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"127 1","pages":"219 - 220"},"PeriodicalIF":0.2,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82593714","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":"Amateur and Proletarian Theatre in Post-Revolutionary Russia: Primary Sources","authors":"Colin Ellwood","doi":"10.1080/20567790.2021.1977898","DOIUrl":"https://doi.org/10.1080/20567790.2021.1977898","url":null,"abstract":"not. Stanislavski’s famous dictum “I do not believe you” is a refrain repeated throughout the film and becomes a mantra by which each artist tests his and her own work. The best parts of Stanislavski. Lust for Life are in the fly-on-the-wall scenes shot inside rehearsals and through onstage performances. Bobkova was able to film hours of rehearsal footage from Koršunovas’s Seagull, which is used to good effect, if only to see the dangerous performance built by MHAT actress Daria Moroz as Arkadina. We see rehearsals, performances, or workshops by nearly all the directors and teachers interviewed. Particularly revealing are ones by Yury Butusov, Declan Donnellan, and Veniaman Filshtinsky. In addition, there is the rare footage from the play Out of the System, by playwright Mikhail Durnenko and directed by Kirill Serebrennikov, a play about Stanislavskiand his times that was performed only once (17 January 2013) as part of the Stanislavski 250th anniversary celebrations at the Moscow Art Theatre. A spectacular event for those of us who saw it live. Chillingly, that production featured an explosive section where Stanislavski’s fame, represented by his face adorning a huge, inflated balloon, is literally squelched and bursts as Stanislavski suddenly comes under house arrest, his reputation subsumed under authoritarian control, mirroring what has become true, also, of Kirill Serebrennikov’s own purged life and shattered career in Russia since the making of this documentary. Every Russian director lives under this same threat. And yet Bobkova’s film does not mean to be overtly political. In fact, it passed all censorship trials without a qualm before being released in 2020. Nonetheless, an uncomfortable undercurrent remains in the film (stressed always in that ominous music by Marina Makarova) about the life of the individual artist working under state control but where artistic liberality still seems to have free rein in Russia. And we become preoccupied with how Stanislavski maintained personal autonomy (with gradual and inevitable capitulation) throughout his life in the face of ongoing struggles; his “inspiring spirit”, as Declan Donnellan says, remains a counterforce. His legacy of “life” is mentioned again and again. To work in his tradition now has a kind of urgency, “to be in the same field with him” as Yury Butusov says. Butusov also refers to Stanislavski’s writings on “Ethics”, a code of laws on the inner life of the theatre. Stanislavski is not a timeless philosophy but a practical tool for many, as it is for the great acting teacher Veniamin Filshtinsky: “truth of body, truth of walk, truth of breath, the inextricable connection between body and soul.” At the root of the film is the “liveness” of theatre and the actor-audience compact. The echo of this message in these pandemic times is unmistakable. In the final section of the film, each of those interviewed reads a relevant selection from Stanislavski's writing. Each is a moving tribute. ","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"240 1 1","pages":"220 - 224"},"PeriodicalIF":0.2,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72956159","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":"“Staying on task — how the concept of skill-challenge balance provides a key element to the teaching of the Meisner technique”","authors":"Philippa Strandberg-Long","doi":"10.1080/20567790.2021.1969762","DOIUrl":"https://doi.org/10.1080/20567790.2021.1969762","url":null,"abstract":"ABSTRACT This article presents how the concept of skill-challenge balance — derived from Csíkszentmihályi’s theory of Flow — can provide a key factor in the delivery and teaching of the Meisner technique as well as other actor training methods. The American acting practitioner Sanford Meisner’s foundational actor training focuses on the redirection of attention, to keep the actor present and less self-conscious. His exercises are presented in a way that encourages external attention to be sustained by using a logical step-by-step process and gradually increasing the difficulty – either when the students’ skills develop or when the exercise becomes automated. The article offers evidence that different attentional networks are activated depending on how much attention is directed to task, which rests on the challenge-skill balance being continually adjusted for the actor to sustain task-focus and avoid mind wandering. This demonstrates that finding the balance between skill and challenge in relation to task, while layering the exercises in an extended developmental training-process, is integral to the Meisner method. As an acting tutor, the concept of skill-challenge balance has greatly influenced my own practice, as well as solidified the importance of the teacher’s ability to acknowledge the student’s understanding and growth. By focusing on the individual and the personal aspect of the skill-challenge balance, highlights not only the importance of seeing this balance as something fluid – needing constant re-evaluation and adaptation – but also as a something that should be adhered to in any forms of vocational teaching and development. .","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"20 1","pages":"163 - 184"},"PeriodicalIF":0.2,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82588670","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":"Taking a stance: mentalization and the Stanislavskian rehearsal process","authors":"Benjamin Askew, Holly Dwyer Hall, Jade Smith","doi":"10.1080/20567790.2021.1968697","DOIUrl":"https://doi.org/10.1080/20567790.2021.1968697","url":null,"abstract":"ABSTRACT In this article, we suggest that the psychological process of mentalization – that of perceiving and interpreting behaviour as conjoined with intentional mental states – might have a key role to play in Stanislavskian rehearsal practice, both in terms of developing relationships in the rehearsal room and in terms of interpreting dramatic characters. We discuss key concepts such as the dimensions of mentalizing, non-mentalizing modes, the mentalizing stance, and epistemic trust, and highlight the potential relevance of these to the work of the acting ensemble. Our aim is to provide practitioners, and especially those charged with leading rehearsal processes, with an introduction to mentalization, allowing them to identify mentalizing problems as they arise and to be proactive in demonstrating and encouraging effective mentalizing within the rehearsal environment.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"18 1","pages":"119 - 128"},"PeriodicalIF":0.2,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81978207","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 Nina enigma: embodying fractured femininity in Chekhov’s The Seagull","authors":"Claire Marie Mannle","doi":"10.1080/20567790.2021.1979292","DOIUrl":"https://doi.org/10.1080/20567790.2021.1979292","url":null,"abstract":"ABSTRACT While the legacy, names, and even faces of Konstantin Stanislavski, Vladimir Nemirovich-Danchenko, and Anton Chekhov are readily recognizable to theatre historians, identifying Stanislavski’s female collaborators and their contributions remains challenging more than a century later. This article focuses on the creation of the role of Nina Zarechnaia in Chekhov’s play The Seagull in the first ten years (1885–1905) of its production history, through four very different actresses: Vera Kommissarzhevskaia, Maria Roksanova, Maria Andreyeva, and Maria Lillina. Stanislavski needed these women to embody the complex female characters of Chekhov’s play and also to realize his vision of a new style of performance for a new century. The role of Nina offered particular challenges to the original actresses who were cast to play her – the play and the character both straddle the dynamic shift from the melodramas of the 19th century to the modernism of the 20th century. Through a careful analysis of the character and these four specific performances, I argue that this role in particular and the work of these women are pivotal to the enduring success of the Moscow Art Theatre.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"18 1","pages":"205 - 218"},"PeriodicalIF":0.2,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74932457","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":"From active analysis to the actor-creator’s work with the first impulse","authors":"Gabriela Curpan, Ion Florin Grigoras","doi":"10.1080/20567790.2021.1940458","DOIUrl":"https://doi.org/10.1080/20567790.2021.1940458","url":null,"abstract":"ABSTRACT In this article, we are looking for ways of congruence between Konstantin Stanislavsky’s Method of Active Analysis and Nikolai Demidov’s School, theoretically observing similarities, while also concentrating on some major differences, such as the complete initial lack of given circumstances for études in Demidov or the inceptive use of improvised speech as opposed to the given text in Stanislavsky. During one of their last encounters, Demidov shared with Stanislavsky his own thoughts related to the shortcomings of teaching the “system”, while arranging a demonstration of his own latest discoveries. Apparently, Stanislavsky, who was previously against Demidov’s desire to train students/actors differently, was positively surprised when witnessing the results of this new approach. Although both practitioners might have thought that a combination between the two techniques could provide a new path for the actor, probably due to Stanislavsky’s health problems, such an endeavour never came to fruition. Therefore, as a prerequisite of a practical research project, briefly analysing both paths, this article aims to delineate ways towards finding out whether they can be merged into a single one and how this could be used as a brand-new rehearsing technique.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"22 1","pages":"149 - 162"},"PeriodicalIF":0.2,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78747694","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":"Konstantin Stanislavski and Emile Jaques-Dalcroze: historical and pedagogical connections between actor training and music education","authors":"Andrew Davidson","doi":"10.1080/20567790.2021.1945811","DOIUrl":"https://doi.org/10.1080/20567790.2021.1945811","url":null,"abstract":"ABSTRACT This paper explores the fields of actor training and music education in order to illuminate the historical and pedagogical connections between the work of Konstantin Stanislavski and Emile Jaques-Dalcroze. It identifies historical parallels between their artistic practices, including their dedication to rhythm and polyrhythm. It illustrates the ways in which their pedagogical paths crossed. It analyses the artistic lineage that can be drawn from the work of Jaques-Dalcroze at the Hellerau Institute to the work of Stanislavski at the Moscow Art Theatre. This includes the influence of Dalcroze Eurhythmics on the development of Tempo-Rhythm. The paper considers how aspects of Stanislavskian actor training are reflected in aspects of Dalcrozian music education, including ensemble work, intention and emotion, and the evolution of psychophysical performance. It proposes that there is a correlation between the creative process undertaken by an actor on a play text, known as Active Analysis, and the creative process undertaken by a musician on a compositional score, known as Plastique Animée. Comparing the pedagogical principles of Stanislavski and Jaques-Dalcroze from the author’s own perspective as an actor trainer and music educator reveals areas for further research. This paper presents themes that are transferable to artists and educators engaged in continuing professional development.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"58 1","pages":"185 - 203"},"PeriodicalIF":0.2,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78725612","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":"Brian Friel: Ireland’s Chekhov","authors":"N. Jones","doi":"10.1080/20567790.2021.1922228","DOIUrl":"https://doi.org/10.1080/20567790.2021.1922228","url":null,"abstract":"ABSTRACT Brian Friel acquired the appellation 'Ireland’s Chekhov' or the 'Irish Chekhov' during the 1970s when critics began to comment on similarities in their respective dramaturgies. Here Friel’s 'affinities' with Chekhov are outlined through his several observations on the playwright; a brief examination of three of his own plays with Chekhovian echoes and resonances; the consideration of his 'translations' of major plays described as “after Chekhov”; and an introductory appraisal of an original piece where Friel invents a fictional 'afterlife' meeting for two of Chekhov’s characters from different plays.","PeriodicalId":40821,"journal":{"name":"Stanislavski Studies","volume":"9 1","pages":"129 - 148"},"PeriodicalIF":0.2,"publicationDate":"2021-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75832920","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}