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It is No Coincidence: HAMLET – An Actor Prepares (Three Hundred Years Before Stanislavsky?) Stanislavski Studies (IF 0.2) Pub Date : 2024-07-30 Guy Sprung
The essay views William Shakespeare’s play Hamlet as a kind of London double-decker tourist bus. Visible on the open top level is the revenge tragedy. On the lower level, hidden in typical Elizabet...
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Reading Stanislavsky from a Stage Lighting Designer’s Point of View: Stanislavsky’s Notes on the Dramaturgy of Light Stanislavski Studies (IF 0.2) Pub Date : 2024-07-08 Christina Thanasoula
Stage lighting design is, mostly, referenced and researched in correlation to the scenographic history of theatre, often leaving in shadow the organic impact it has on the human beings involved in ...
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Editorial Stanislavski Studies (IF 0.2) Pub Date : 2024-04-07 Stefan Aquilina
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 12, No. 1, 2024)
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Stanislavsky and Actor Training for the Screen/Stanislavsky and America Stanislavski Studies (IF 0.2) Pub Date : 2024-04-07 Paul Fryer
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 12, No. 1, 2024)
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Stanislavsky and Race: Questioning the “System” in the 21st Century Stanislavski Studies (IF 0.2) Pub Date : 2024-03-18 Dermot Daly
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 12, No. 1, 2024)
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The Studio on Povarskaia 1905: “Young Theatre of Searching” Stanislavski Studies (IF 0.2) Pub Date : 2024-03-18 Rose Whyman
The emergence of Symbolism in Russian theatre was a turning point for both Konstantin Stanislavsky and Vsevolod Meyerhold, prompting the former to set up a studio in 1905 to experiment with the new...
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Stanislavsky and Pedagogy Stanislavski Studies (IF 0.2) Pub Date : 2024-03-15 Aimee Shields
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 12, No. 1, 2024)
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Enhancing Young Violinists’ Musical Identities Using a Dialectical Approach Drawn from the Stanislavsky System Stanislavski Studies (IF 0.2) Pub Date : 2024-03-10 Konstantinos Demirtzoglou, Maria Papazachariou-Christoforou
This paper draws on the fields of music education and actor training. It describes the use of acting techniques based on the Stanislavsky system in music education as a means of facilitating the ex...
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Creating a Role for Light: A Lighting Design Teaching Method Based on Stanislavsky Stanislavski Studies (IF 0.2) Pub Date : 2024-02-26 Valentina Tamiolaki
The creative role of stage lighting is increasingly appreciated in contemporary theatre practice. However, aesthetic sensibility seems harder to teach than technology. This essay focuses on lightin...
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Stanislavsky and Voice Training Stanislavski Studies (IF 0.2) Pub Date : 2024-01-23 Marie-Christine Autant-Mathieu
Quite often, when one evokes the main contributions of the Stanislavsky System, the “method of physical actions” immediately comes to mind. Voice training remains a little-explored area and is ofte...
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On the Hidden Potential of Public Solitude, Part I: Ivan Vyskočil’s Theatre as Encounter Stanislavski Studies (IF 0.2) Pub Date : 2023-12-04 Markéta Machková, Mish Rais
In this essay, we introduce Ivan Vyskočil (1929–2023), a Czech theatre maker, author, psychologist, and pedagogue – a case study par excellence for current studies on hybridization and transdiscipl...
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Active Analysis for Beginning Acting Students: A Class Blueprint Stanislavski Studies (IF 0.2) Pub Date : 2023-11-22 Joelle Ré Arp-Dunham
Stanislavsky’s latter practice known today as Active Analysis is a powerful tool for quickly integrating the givens of a script into an actor’s body. Learning the tool can be anxiety-inducing for b...
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Editorial Stanislavski Studies (IF 0.2) Pub Date : 2023-10-24 Stefan Aquilina
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 11, No. 2, 2023)
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Radovan Lukavský and the Stanislavsky’s method of an actor’s work Stanislavski Studies (IF 0.2) Pub Date : 2023-10-24 Zuzana Sílová
Radovan Lukavský (1919–2008) was an important representative of modern Czech acting, a long-time National Theatre drama ensemble member in Prague, and a teacher at the Academy of Performing Arts in...
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Dynamic Acting through Active Analysis: Konstantin Stanislavsky, Maria Knebel, and Their Legacy Stanislavski Studies (IF 0.2) Pub Date : 2023-10-24 Jay Paul Skelton
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 11, No. 2, 2023)
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Clive Barker and his Legacy: Theatre Workshop and Theatre Games Stanislavski Studies (IF 0.2) Pub Date : 2023-10-24 Howard Gayton
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 11, No. 2, 2023)
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Stanislavsky and Race Stanislavski Studies (IF 0.2) Pub Date : 2023-10-24 Co-edited by: Siiri Scott, Jay Paul Skelton
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 11, No. 2, 2023)
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“Grand little lady of the stage and screen”1: The role of Maria Ouspenskaya in the dissemination of the Stanislavsky system in the US Stanislavski Studies (IF 0.2) Pub Date : 2023-10-24 Ewa Danuta Godziszewska
Maria Ouspenskaya’s (1876-1949) classwork on acting development and Richard Boleslavsky’s lectures and class demonstrations formed the pedagogical core of the American Laboratory Theatre. The train...
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The secret of action: a cognitive exploration of eyewitness accounts of Stanislavsky’s Active Analysis Stanislavski Studies (IF 0.2) Pub Date : 2023-10-24 Richard J. Kemp
This article approaches eyewitness accounts of Stanislavsky’s late practice through the lens of cognitive science. Findings from this field identify relevant and robust theoretical reasons for stat...
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Active Analysis in the beginning acting classroom Stanislavski Studies (IF 0.2) Pub Date : 2023-10-24 Michael Shipley
Often, the exercises in the acting classroom can feel at odds with the processes used in the rehearsal room. I believe Konstantin Stanislavsky’s rehearsal method of Active Analysis provides tools a...
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Stanislavsky and Intimacy Stanislavski Studies (IF 0.2) Pub Date : 2023-10-24 Edited by Joelle Ré Arp-Dunham
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 11, No. 2, 2023)
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The Routledge Companion to Vsevolod Meyerhold Stanislavski Studies (IF 0.2) Pub Date : 2023-10-24 Patrick Lonergan
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 11, No. 2, 2023)
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Stanislavsky and the Russian acting and directing tradition in twenty-first century Greece: the work of Stathis Livathinos Stanislavski Studies (IF 0.2) Pub Date : 2023-09-20 Michaela Antoniou
In this article, the author explores the direct links of the Russian acting and directing tradition to the Greek field as they were introduced through the Experimental Stage of the National Theatre...
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The Stanislavsky–Grotowski lineage: Part II Stanislavski Studies (IF 0.2) Pub Date : 2023-08-24 Virginie Magnat
ABSTRACT The connection between Konstantin Stanislavsky and Jerzy Grotowski is often overlooked or underplayed because there are substantial distinctions between them in terms of practices and approaches. In Part I of this essay, I examine Grotowski’s reflections on Stanislavsky’s final experiments, which the Polish director considered to constitute the culmination of the System, as well as the starting
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Editorial Stanislavski Studies (IF 0.2) Pub Date : 2023-04-25 Stefan Aquilina
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 11, No. 1, 2023)
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Hear, Now, Today: Active Analysis for the working actor:A “special guest workshop” delivered at The S Word, Prague, 12 November 2022 Stanislavski Studies (IF 0.2) Pub Date : 2023-04-13 Bella Merlin
ABSTRACT In November 2022, The S Word symposium was hosted at DAMU, Prague, under the title 'Stanislavsky's Last Words'. Bella Merlin conducted a practical workshop on the 'constant state of inner improvisation' that underpins Stanislavsky's final rehearsal practice, Active Analysis, along with the vital role of 'dynamic listening' between actors. This paper is an account of that workshop, writing
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The actor as a tourist in a new city Stanislavski Studies (IF 0.2) Pub Date : 2023-04-11 Michael Holdsworth
ABSTRACT This essay is a series of wistful musings born from provocations, new translations and exciting discoveries made whilst attending The S Word Symposium in Prague in November 2022. This autoethnographic essay compares the discoveries made by a tourist exploring a new city, to that of an actor as they begin their process of discovering a new role through the lens of Stanislavsky’s, and those
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A screen actor prepares: Self-taping by reversing Stanislavsky’s Method of Physical Actions Stanislavski Studies (IF 0.2) Pub Date : 2023-04-08 Evi Stamatiou
ABSTRACT The popularity of streaming services, especially after the COVID-19 pandemic, reinforced the understanding that screen acting skills should be prioritized, prompting a reimagining of Stanislavsky’s practices to address the needs of the contemporary actor and acting graduate. Screen actors are expected to self-tape using digital technologies to showcase their acting skills independently. This
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The Stanislavsky-Grotowski lineage: part I Stanislavski Studies (IF 0.2) Pub Date : 2023-04-08 Virginie Magnat
ABSTRACT The connection between Konstantin Stanislavsky and Jerzy Grotowski is often overlooked or underplayed because there are substantial distinctions between them in terms of practices and approaches. In Part I of this essay, I examine Grotowski’s reflections on the significance of Stanislavsky’s final experiments for his own artistic research, I identify key points of connection between the Russian
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Soviet Theatre during the Thaw: Aesthetics, Politics and Performance Stanislavski Studies (IF 0.2) Pub Date : 2023-04-06 Alisa Ballard Lin
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 11, No. 1, 2023)
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“Music, singing, word, action”: the Opera-Dramatic Studio 1935–1938 Stanislavski Studies (IF 0.2) Pub Date : 2023-04-05 Maria Shevtsova
ABSTRACT Central preoccupations of Stanislavsky’s theatre practice and thought involve continuous laboratory explorations, revisions and developments. What emerges as new at one time is constantly renewed, indicating that his work of perpetual change raises the question as to what actually were the defining achievements of the Opera-Dramatic Studio. This was the last of the seven studios that Stanislavsky
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Belief through Knowledge: The Relationship of Knebel’s Active Analysis to Stanislavsky’s System Stanislavski Studies (IF 0.2) Pub Date : 2023-04-04 Sharon Marie Carnicke
ABSTRACT Stanislavsky placed belief in imagined circumstances at the heart of his acting System. As he wrote, “Everything on stage must instill belief in the possibility that it could exist in life as actual feelings and sensations, analogous to those that the artist undergoes while creating.” However, leading proponents of Stanislavsky’s late work rarely mention belief when they write about his last
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The S Word, in partnership with The Theatre Studies Department of The National and Kapodistrian University of Athens, Greece Stanislavski Studies (IF 0.2) Pub Date : 2023-03-31
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 11, No. 1, 2023)
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The S Word, in partnership with the Western Australian Academy of Performing Arts of the Edith Cowan University, Perth/Boorloo, Western Australia Stanislavski Studies (IF 0.2) Pub Date : 2023-03-30 Paul Fryer
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 11, No. 1, 2023)
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Stanislavsky and Pedagogy Stanislavski Studies (IF 0.2) Pub Date : 2023-03-29 Edited by Prof. Stefan Aquilina
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 11, No. 1, 2023)
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Vladimír Gamza: the comedian’s system Stanislavski Studies (IF 0.2) Pub Date : 2023-03-27 Martina Musilová
ABSTRACT It is well known that after 1918 the newly founded Czechoslovakia became an asylum for thousands of Russian, Ukrainian, and Belarusian emigrants. Among the exiles we find former members of the MAT and its First Studio. Kachalov’s Group in Prague is a well-known example. This was also a period of significant repatriation of a number of Czechoslovaks settled in Russia. Among them was Vladimír
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Towards or not towards? Using the ACT Matrix as a psychological tool in the analysis and interpretation of dramatic texts and characters Stanislavski Studies (IF 0.2) Pub Date : 2022-09-02 Benjamin Askew
ABSTRACT This article addresses key elements of “ACT for Acting”, an ongoing project using the psychological framework of Acceptance and Commitment Therapy/Training (ACT) to explore the processes of acting and actor training. The article introduces readers to a tool called the ACT Matrix and demonstrates how it can be used to “sort”, understand, and visualize different aspects of human experience and
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Editorial Stanislavski Studies (IF 0.2) Pub Date : 2022-08-31 Paul Fryer
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 10, No. 2, 2022)
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Ukrainian theatre during the current war Stanislavski Studies (IF 0.2) Pub Date : 2022-08-29 Anastazie Toros
ABSTRACT Use of creativity in places of conflict is an essential base for the survival of individuals. Theatre can be produced during wartime, and it should be an ongoing process. Until the end of the conflict is in sight, artists need a platform to share and transform their ideas into reality. The violence can be filtered through a process of self-reflection and analysis; despair can be changed into
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Three Loves for Three Oranges, Gozzi, Meyerhold, Prokofiev Stanislavski Studies (IF 0.2) Pub Date : 2022-07-27 F Jane Schopf
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 10, No. 2, 2022)
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Stanislavski training and mindfulness – being in the moment Stanislavski Studies (IF 0.2) Pub Date : 2022-07-26 Dawn Ingleson
ABSTRACT ‘I understand that an artist must be capable of stopping time and allowing for spaciousness, but now I realise that to welcome and cultivate stillness and quiet into my work, I must welcome and cultivate stillness and quiet into my own life.” Stanislavsky’s “creation of the life of the human spirit” is an exciting aspect of his work and the underlying spirituality is something that he kept
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The first 10 years (part 2) Stanislavski Studies (IF 0.2) Pub Date : 2022-07-01 Paul Fryer
Published in Stanislavski Studies: Practice, Legacy, and Contemporary Theater (Vol. 10, No. 2, 2022)
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In plain sight: hidden Stanislavski: part 2 Stanislavski Studies (IF 0.2) Pub Date : 2022-07-01 Eric Hetzler
ABSTRACT A quick search of acting texts on Amazon UK returns 8000 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 800 acting texts. Many of them will be by teachers espousing their own special technique that they have developed over
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Stillness and André Gregory’s Meyerhold Stanislavski Studies (IF 0.2) Pub Date : 2022-06-29 Geoffrey Lokke
ABSTRACT This article considers André Gregory’s transition from the acclaimed “physical theatre” produced with his company the Manhattan Project to a signature form of static performance circumscribed by stillness and poetic declamation. Gregory’s 2020 book This Is Not My Memoir, written with Todd London, offers complementary lineages that have shaped Gregory’s approach to theatre. His early career
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Ragpickers & radical Naturalism:the conflicted discourse of Stanislavsky in Australia and Aotearoa New Zealand, part two Stanislavski Studies (IF 0.2) Pub Date : 2022-05-25 Jonathan W. Marshall
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
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Stanislavsky, Viewpoints and their influence on the theory of Crosspoints training Stanislavski Studies (IF 0.2) Pub Date : 2022-03-23 Stephen Atkins
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
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Zero zone in Stanislavski’s practice Stanislavski Studies (IF 0.2) Pub Date : 2022-03-11 Tamur Tohver
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
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Editorial Stanislavski Studies (IF 0.2) Pub Date : 2022-02-24 Paul Fryer
(2022). Editorial. Stanislavski Studies: Vol. 10, No. 1, pp. 1-2.
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The first 10 years Stanislavski Studies (IF 0.2) Pub Date : 2022-02-24 Paul Fryer
(2022). The first 10 years. Stanislavski Studies: Vol. 10, No. 1, pp. 3-8.
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The Stanislavsky Research Centre in partnership with DAMU – Theatre Faculty of the Academy of Performing Arts in Prague (AMU) Stanislavski Studies (IF 0.2) Pub Date : 2022-02-22
(2022). The Stanislavsky Research Centre in partnership with DAMU – Theatre Faculty of the Academy of Performing Arts in Prague (AMU) Stanislavski Studies: Vol. 10, No. 1, pp. 107-107.
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Crosspoints: an integrative acting system Stanislavski Studies (IF 0.2) Pub Date : 2022-02-03 Robert Marsden
(2022). Crosspoints: an integrative acting system. Stanislavski Studies: Vol. 10, No. 1, pp. 103-105.
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In plain sight: hidden Stanislavski - part one Stanislavski Studies (IF 0.2) Pub Date : 2022-02-03 Eric Hetzler
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
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The power of action (using physical action to find words) Stanislavski Studies (IF 0.2) Pub Date : 2022-01-23 Sue Dunderdale
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
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Modern theatre in Russia: tradition building and transmission processes Stanislavski Studies (IF 0.2) Pub Date : 2022-01-23 Julian Jones
(2022). Modern theatre in Russia: tradition building and transmission processes. Stanislavski Studies: Vol. 10, No. 1, pp. 101-103.
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On the 100th anniversary of the Vakhtangov Theatre in Moscow and the erecting of the Cultural Center in Vakhtangov’s house in Vladikavkaz Stanislavski Studies (IF 0.2) Pub Date : 2021-12-09 Viktoria Volkova
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
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Outside-in or inside–out? The conflicted discourse of Stanislavsky in Australia and Aotearoa New Zealand: part one Stanislavski Studies (IF 0.2) Pub Date : 2021-12-08 Jonathan W. Marshall
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
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Stanislavski studies 9.2 Stanislavski Studies (IF 0.2) Pub Date : 2021-09-01 Paul Fryer
(2021). Stanislavski studies 9.2. Stanislavski Studies: Vol. 9, No. 2, pp. 117-118.
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Taking a stance: mentalization and the Stanislavskian rehearsal process Stanislavski Studies (IF 0.2) Pub Date : 2021-08-18 Benjamin Askew, Holly Dwyer Hall, Jade Smith
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
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“Staying on task — how the concept of skill-challenge balance provides a key element to the teaching of the Meisner technique” Stanislavski Studies (IF 0.2) Pub Date : 2021-08-26 Philippa Strandberg-Long
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
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The Nina enigma: embodying fractured femininity in Chekhov’s The Seagull Stanislavski Studies (IF 0.2) Pub Date : 2021-09-17 Claire Marie Mannle
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