Stanislavsky in the World is an ambitious and ground-breaking work charting a fascinating story of the global dissemination and transformation of Stanislavsky's practices.
Case studies written by local experts, historians and practitioners are brought together to introduce the reader to new routes of Stanislavskian transmission across the continents of Europe, Asia, Africa, Australasia and South (Latin) America. Such a diverse set of stories moves radically beyond linear understandings of transmission to embrace questions of transformation, translation, hybridisation, appropriation and resistance.
This important work not only makes a significant contribution to Stanislavsky studies but also to recent research on theatre and interculturalism, theatre and globalisation, theatre and (post)colonialism and to the wider critical turn in performer training historiographies.
This is a unique examination of Stanislavsky's work presenting a richly diverse range of examples and an international perspective on Stanislavsky's impact that has never been attempted before.
Papildus informācija
Stanislavsky in the World maps the dissemination of Stanislavskys actor training system across five continents, revealing undiscovered paths of cross-cultural transmission and examining wider questions of embodied history, lineage and tradition.
| Acknowledgements |
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| Translation Credits and Notes on Transliteration |
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| Introduction |
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1 | (26) |
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Context 1 Well-trodden Paths: US, UK, Russian and Soviet Perspectives on Stanislavsky's Transmission |
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1 | (11) |
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Context 2 A System for all Nations? Stanislavsky's Transmission in the World |
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12 | (15) |
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27 | (8) |
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1 Three Periods of Stanislavsky in Italy |
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35 | (28) |
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2 Stanislavsky and French Theatre: Selected Affinities |
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63 | (24) |
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Marie-Christine Autant-Mathieu |
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3 Between Nationalism and Ideology: Stanislavsky in Lithuania |
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87 | (18) |
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4 An Amateur Processing of the System: Stanislavsky in Malta |
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105 | (19) |
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5 Moments of Transition: Stanislavsky in Greece |
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124 | (19) |
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143 | (6) |
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6 Towards a Chinese School of Performance and Directing |
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149 | (17) |
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7 Stanislavsky with Chinese Characteristics: How the System was Introduced into China |
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166 | (30) |
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8 A Producer's Perspective: Stanislavsky in Contemporary Japan |
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196 | (11) |
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207 | (6) |
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9 Stanislavsky in Brazil: Territories and Frontiers |
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213 | (25) |
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10 Stanislavsky's Legacy in Cuba |
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238 | (23) |
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11 A Teacher's Perspective: Stanislavsky at the Escuela de Teatro de Buenos Aires in Argentina |
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261 | (10) |
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271 | (6) |
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12 Stanislavsky in Nigeria: Convergences and Counterpoints in Actor Training and Practice |
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277 | (13) |
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13 Stanislavsky in Tunisian Theatre: a Heritage in Progress |
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290 | (19) |
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14 A Directors Perspective: Stanislavsky in South Africa |
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309 | (10) |
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319 | (6) |
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15 Theatrical Bowerbirds: Received Stanislavsky and the Tyranny of Distance in Australian Actor Training |
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325 | (22) |
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16 Acting Idealism and Emotions: Hayes Gordon, The Ensemble Theatre and Acting Studios in Australia |
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347 | (20) |
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17 Stanislavsky in Aotearoa: The System Experienced through the Maori World |
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367 | (26) |
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Part 6 India and Bangladesh |
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393 | (6) |
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18 Between Stanislavsky and Bharata: Actor Training at the National School of Drama in New Delhi |
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399 | (18) |
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19 Stanislavsky in the Modern Theatre of Bangladesh: A Mapping of Postcolonial Appropriation and Assimilation |
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417 | (28) |
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| Notes on Contributors |
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445 | (8) |
| Index |
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453 | |
Jonathan Pitches is Professor of Theatre and Performance at the University of Leeds in the School of Performance and Cultural Industries. He specialises in the study of performer training and has wider interests in intercultural performance, environmental performance and blended learning. He is founding co-editor of the journal of Theatre, Dance and Performance Training and has published several books in this area: Vsevolod Meyerhold (2003), Science and the Stanislavsky Tradition of Acting (2006/9) Russians in Britain (2012) and Stanislavsky in the World (with Dr Stefan Aquilina 2017). He is currently working on two new book projects, Great Stage Directors Vol 3: Komisarjevsky, Copeau, Guthrie (2017) and Performing Landscapes: Mountains (2018), supported by the AHRC.
Stefan Aquilina is a lecturer within the Theatre Studies Department of the School of Performing Arts (University of Malta). His main area of research is Russian and early Soviet theatre, especially the work of Stanislavsky and Meyerhold. This particular research interest is developed through the application of critical theories on everyday life. Aquilina also runs a research project called Performance Lineage: the Russian Tradition of Actor Training through a grant offered by the University of Malta.
Biežāk uzdotie jautājumi par e-grāmatām