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.
Edited by:
Jonathan Pitches (University of Leeds UK),
Dr Stefan Aquilina (University of Malta,
Malta)
Imprint: Methuen (UK)
Country of Publication: United Kingdom
Dimensions:
Height: 234mm,
Width: 156mm,
Spine: 25mm
Weight: 723g
ISBN: 9781472587886
ISBN 10: 147258788X
Pages: 480
Publication Date: 18 May 2017
Audience:
Professional and scholarly
,
College/higher education
,
Undergraduate
,
Primary
Format: Paperback
Publisher's Status: Active
Contents Acknowledgements Notes on transliteration Figures INTRODUCTIONS AND CONTEXT 1 AND 2 ‘Well-trodden Paths: US, UK, Russian and Soviet Perspectives on Stanislavsky’s Transmission’ by Stefan Aquilina ‘A System for all Nations? Stanislavsky in the World’ by Jonathan Pitches PART 1: EUROPE Introduction by Stefan Aquilina ‘Three Periods of Stanislavsky in Italy’ by Franco Ruffini ‘Stanislavsky and French Theatre: Selected Affinities’ by Marie-Christine Autant-Mathieu ‘Between Nationalism and Ideology: Stanislavsky in Lithuania’ by Ina Pukelyte ‘An Amateur Processing of the System: Stanislavsky in Malta’ by Stefan Aquilina ‘Moments of Transition: Stanislavsky in Greece’ by Maria Gaitanidi PART 2: CHINA AND JAPAN Introduction by Jonathan Pitches ‘Towards a Chinese School of Performance and Directing: Jiao Juyin’ by Siyuan Liu ‘Stanislavsky with Chinese Characteristics: How the System was introduced into China’ by Jonathan Pitches and Ruru Li ‘A Producer’s Perspective: Stanislavsky in Contemporary Japan’ by Kaori Nakayama PART 3: LATIN AMERICA Introduction by Stefan Aquilina ‘Stanislavsky in Brazil: Territories and Frontiers’ by Arlete Cavaliere ‘Stanislavsky’s Legacy in Cuba’ by Yana Elsa Brugal ‘A Teacher’s Perspective: Stanislavsky at the Escuela de Teatro de Buenos Aires in Argentina’ by Raul Serrano PART 4: AFRICA Introduction by Stefan Aquilina ‘Stanislavsky in Nigeria: Convergences and Counterpoints in Actor Training and Practice’ by Kene Igweonu ‘Stanislavsky in Tunisian Theatre: a Heritage in Progress’ by Moez Mrabet ‘A Director’s Perspective: Stanislavsky in South Africa’ by David Peimer PART 5: AUSTRALASIA Introduction by Jonathan Pitches ‘Theatrical Bowerbirds: Received Stanislavsky and the Tyranny of Distance in Australian Actor Training’ by Ian Maxwell ‘Acting Idealism and Emotions: Hayes Gordon, The Ensemble Theatre and Acting Studios in Australia’ by Peta Tait ‘Stanislavsky in Aotearoa: The System Experienced through the Maori World’ by Hilary Halba PART 6: INDIA AND BANGLADESH Introduction by Jonathan Pitches ‘Between Stanislavsky and Bharata: Actor training at the National School of Drama in New Delhi’ by Jooyeoul Ryu ‘Stanislavsky in the Modern Theatre of Bangladesh: A Mapping of Postcolonial Appropriation and Assimilation’ by Syed Jamil Ahmed Notes on Contributors Index
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.
