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Stanislavsky an Introduction – Jean Benedetti
Jean Benedetti was born in 1930 and educated in England and France. He trained as an actor and teacher at the Rose Bruford College of Speech and Drama, returning in 1970 as Principal of the College until 1987. He is author of a number of semi-documentary television plays. His published translations include Brecht’s Edward II and A Respectable Wedding and Georges Michel’s A Sunday Walk. His first book was a biography of Gilles de Rais. In 1982 he published the first edition of Stanislavski: An Introduction, which has been reprinted many times. Stanisla- vski: A Biography was first published in 1988 and then revised and expanded. He subsequently published The Moscow Art Theatre Letters in 1991 and Dear Writer … Dear Actress, the love letters of Anton Chekhov and Olga Knipper, in 1997. Stanislavski and the Actor, an account of Stanislavski’s teaching in the last three years of his life, followed in 1998. From 1979 to 1987 he was chairman of the Theatre Education Committee of the International Theatre Insti- tute (UNESCO). He is currently Honorary Professor at both Rose Bruford College and Queen Margaret University College Edinburgh. Books by Stanislavski AN ACTOR PREPARES AN ACTOR’S HANDBOOK BUILDING A CHARACTER CREATING A ROLE MY LIFE IN ART STANISLAVSKI IN REHEARSAL STANISLAVSKI’S LEGACY STANISLAVSKI ON OPERA Books by Jean Benedetti STANISLAVSKI: HIS LIFE AND ART STANISLAVSKI & THE ACTOR THE MOSCOW ART THEATRE LETTERS DEAR WRITER, DEAR ACTRESS: THE LOVE LETTERS OF ANTON CHEKHOV AND OLGA KNIPPER Stanislavski An Introduction Jean Benedetti A Theatre Arts Book Routledge New York A Theatre Arts Book Published in the USA and Canada in 2004 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Routledge is an imprint of the Taylor & Francis Group. -
THE PATH of the ACTOR 6 7 8 9 1011 1 2 13111 Michael Chekhov, Nephew of Anton Chekhov, Was Arguably One of the Greatest 4 Actors of the Twentieth Century
1111 2 3 4 51 THE PATH OF THE ACTOR 6 7 8 9 1011 1 2 13111 Michael Chekhov, nephew of Anton Chekhov, was arguably one of the greatest 4 actors of the twentieth century. From his time as Stanislavsky’s pupil, followed 5 by his artistic leadership in the Second Moscow Art Academic Theatre, his 6 enforced emigration from the Soviet Union and long pilgrimage around 7 Europe, to his work in Hollywood, his life has made a huge impact on the 8 acting profession. Chekhov’s remarkable actor-training techniques inspired many Hollywood 9 legends – including Anthony Hopkins and Jack Nicholson – and his tech- 20111 niques remain one of the theatre’s best kept secrets. 1 This first English translation of Chekhov’s autobiographies combines The 2 Path of the Actor, from 1928, and extensive extracts from his later Life and 3 Encounters. Full of humorous and insightful observations involving promi- 4 nent characters from Moscow and the European theatre of the early twentieth 5111 century, Chekhov takes us through events in his acting career and personal 6 life, from his childhood in St Petersburg until his emigration from Latvia and 7 Lithuania in the early 1930s. 8 Chekhov’s witty, penetrating (and at times immensely touching) accounts 9 have been edited by Andrei Kirillov, whose extensive and authoritative notes 30111 accompany the autobiographies. Co-editor, Anglo-Russian trained actor, Bella 1 Merlin, also provides a useful hands-on overview of how the contemporary practitioner might use and develop Chekhov’s ideas. 2 The Path of the Actor is an extraordinary document that allows us unprece- 3 dented access into the life, times, mind and soul of a remarkable man and a 4 brilliant artist. -
The Spectator and Dialogues of Power in Early Soviet Theater By
Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater By Howard Douglas Allen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Victoria E. Bonnell, Chair Professor Ann Swidler Professor Yuri Slezkine Fall 2013 Abstract Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater by Howard Douglas Allen Doctor of Philosophy in Sociology University of California, Berkeley Professor Victoria E. Bonnell, Chair The theater played an essential role in the making of the Soviet system. Its sociological interest not only lies in how it reflected contemporary society and politics: the theater was an integral part of society and politics. As a preeminent institution in the social and cultural life of Moscow, the theater was central to transforming public consciousness from the time of 1905 Revolution. The analysis of a selected set of theatrical premieres from the Bolshevik Revolution in 1917 to the end of Cultural Revolution in 1932 examines the values, beliefs, and attitudes that defined Soviet culture and the revolutionary ethos. The stage contributed to creating, reproducing, and transforming the institutions of Soviet power by bearing on contemporary experience. The power of the dramatic theater issued from artistic conventions, the emotional impact of theatrical productions, and the extensive intertextuality between theatrical performances, the press, propaganda, politics, and social life. Reception studies of the theatrical premieres address the complex issue of the spectator’s experience of meaning—and his role in the construction of meaning. -
Beyond Realism: Into the Studio
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons Beyond Realism: Into the Studio Tom Cornford Shakespeare Bulletin, Volume 31, Number 4, Winter 2013, pp. 709-718 (Article) Published by The Johns Hopkins University Press For additional information about this article http://muse.jhu.edu/journals/shb/summary/v031/31.4.cornford.html Access provided by University of York (10 Dec 2013 06:02 GMT) Epilogue Beyond Realism: Into the Studio TOM CORNFORD University of York As a director, a teacher of actors and directors, and––most of all––as an audience member, I am often confounded by the ubiquity of realist aesthetics in the Anglophone theater. The original political force of the idea of showing life-as-it-is-lived has long since drained away, and we have somehow become trapped within its husk.1 On the other hand, as a scholar of theater practice (and as a theater maker whose practice has been profoundly altered by that scholarship), I cannot help but be aware that the discipline in which I work owes a great debt to realism. That obligation is part of a still-greater debt to the Russian actor, director, and teacher Konstantin Sergeyevich Stanislavsky, whose “system” is gener- ally acknowledged to be the first comprehensive attempt to extend the widespread understanding of the art of acting and our capacity to teach and explore it further. In these concluding thoughts to this issue, I will explore the roots of Stanislavsky’s “system” in his enduring commitment to the Studio as the creative center of theater making. -
Stanislavsky
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Diposit Digital de Documents de la UAB CONTEXTO HISTÓRICO-TEATRAL RUSO E INFLUENCIAS TEMPRANAS DE STANISLAVSKY Athenea Mata contexto histórico-teatral ruso e influencias tempranas de STANISLAVSKY Trabajo de investigación de Doctorado de Artes Escénicas Profesor:Lluís Masgrau Peya Alumna: Athenea Mata CONTEXTO HISTÓRICO-TEATRAL RUSO E INFLUENCIAS TEMPRANAS DE STANISLAVSKY 2 contexto histórico-teatral ruso e influencias tempranas de STANISLAVSKY A mi hijo Zen que da sentido a mi vida. ‘Sé que fue grande el esfuerzo, pero ¿qué se consigue gratuitamente y qué significaría el arte si se consiguiera sin esfuerzo’ De una carta de Shchpekin a Shumsky el 27de marzo de 1848 3 contexto histórico-teatral ruso e influencias tempranas de STANISLAVSKY ÍNDICE ÍNDICE DE MATERIAS Introducción................................................................................................................ 5 1. Contexto histórico-teatral 6 1.1. El primer teatro ruso....................................................................................... 7 1.2. El primer teatro profesional ruso.................................................................... 11 1.3. Influencia del contexto histórico-teatral ruso.................................................. 15 2. Infancia y Juventud de Stanislavsky 21 2.1. El entorno de influencia.................................................................................. 22 2.2. Influencia del entorno familiar........................................................................ -
Dispossed Dramaturgy Board
The Yiddish Theatre District, also called the Jewish Rialto and the Yiddish Realto, was the center of New York City's Yiddish theatre scene in the Because the Yiddish public was passionate about theater, they generally were aware of actors’ early 20th century. It was located primarily on Second Avenue. The District hosted performances in Yiddish of Jewish, Shakespearean, classic, and private lives, including romances, which were matters of comment in theater columns and original plays, comedies, operettas, and dramas, as well as vaudeville, burlesque, and musical shows critiques in the press. Although respectable families were not pleased if their daughters went on the stage, actors committed to intellectual or political ideals were highly respected by the Modern Yiddish theater began with the work of Avrom Goldfadn, who has been canonized as the “father of the Yiddish theater.” Collaborating with intelligentsia, and for the community at large the presence of actors lent dash and style to café the Broder singer Yisroel Grodner (1841–1887), Goldfadn founded the first professional Yiddish theater company in Iaşi (Jassy), Romania, in life. Actors, like other performers, customarily contracted for one night a season to be played 1876. Goldfadn’s companies attracted young meshorerim (singers), badkhonim (jesters), shop attendants, servant girls, and artisans’ apprentices, who for their own benefit. In this practice, not unique to Yiddish theater, the performer picked and traded their small-town lives for those of “wandering stars”(blondzhende shtern), as Sholem Aleichem dubbed them (“vagabond stars” in Nahma cast the play. On these benefit nights, the house might be filled with an actor’s enthusiastic Sandrow’s felicitous translation). -
The Socialist Construction of the Moscow Theater Festival 1933-1937
The Socialist Construction of the Moscow Theater Festival 1933-1937 A thesis submitted by Michael Leonard Kersey Morris In partial fulfillment of the requirements for the degree of Master of Arts in Drama TUFTS UNIVERSITY November 2012 © 2012, Michael Morris Adviser: Laurence Senelick UMI Number: 1531301 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 1531301 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 ii ABSTRACT From 1933 through 1937, the Soviet Union invited foreigners to experience the best of Soviet theater at the Moscow Theater Festival. This thesis focuses on the festival as both an object of and vehicle for socialist construction. The first chapter explores the event as an economic activity through a consideration of the capitalist methods employed to sell the festival. The second chapter examines how the organizers focused on the festival’s increasing cultural and political significance when planning it. The final chapter reflects on the attendees’ responses to their experiences. The conclusion compares the festival to another project of socialist construction—the building of the Moscow subway— and to the Nazi Olympics of 1936. -
The American Career of Maria Ouspenskaya (1887-1949): Actress and Teacher
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 The American Career of Maria Ouspenskaya (1887-1949): Actress and Teacher. Pamela Sue Heilman Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Heilman, Pamela Sue, "The American Career of Maria Ouspenskaya (1887-1949): Actress and Teacher." (1999). LSU Historical Dissertations and Theses. 6890. https://digitalcommons.lsu.edu/gradschool_disstheses/6890 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Beyond Realism : Into the Studio
This is a repository copy of Beyond realism : into the studio. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/77480/ Version: Published Version Article: Cornford, Tom orcid.org/0000-0003-4336-7382 (2013) Beyond realism : into the studio. Shakespeare Bulletin. pp. 709-718. ISSN 1931-1427 https://doi.org/10.1353/shb.2013.0074 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Beyond Realism: Into the Studio Tom Cornford Shakespeare Bulletin, Volume 31, Number 4, Winter 2013, pp. 709-718 (Article) Published by The Johns Hopkins University Press For additional information about this article http://muse.jhu.edu/journals/shb/summary/v031/31.4.cornford.html Access provided by University of York (10 Dec 2013 06:02 GMT) Epilogue Beyond Realism: Into the Studio TOM CORNFORD University of York As a director, a teacher of actors and directors, and––most of all––as an audience member, I am often confounded by the ubiquity of realist aesthetics in the Anglophone theater. -
GCM2014 Catalogo Plus.Pdf
The 33rd Pordenone Silent Film Festival is dedicated to PETER VON BAGH (1943-2014) “We are the last generation which could know everything” ASSOCIAZIONE CULTURALE Italia: Aldo Bernardini; Irela Núñez Del Pozo, “LE GIORNATE DEL CINEMA MUTO” Franca Farina, Emiliano Morreale, Mario Musumeci (Centro Sperimentale di Cinematografia – Soci fondatori Cineteca Nazionale); Carmen Accaputo, Davide Paolo Cherchi Usai, Lorenzo Codelli, Pozzi (Cineteca di Bologna / L’Immagine Ritrovata); Piero Colussi, Andrea Crozzoli, Luciano De Giusti, Luisa Comencini, Matteo Pavesi (Cineteca Livio Jacob, Carlo Montanaro, Mario Quargnolo†, Italiana); Fotocinema; Sergio Mattiassich Germani; Piera Patat, Davide Turconi† Luca Giuliani; Alberto Barbera, Donata Pesenti Presidente Campagnoni, Claudia Gianetto (Museo Nazionale Livio Jacob del Cinema); Alessandra Montini (Orchestra Direttore San Marco); Federico Striuli; Fulvio Toffoli; Jay David Robinson Weissberg Olanda: Lotte Belice Baltussen; Rommy Albers, Ringraziamo per la collaborazione al programma: Sandra Den Hamer, Annike Kross, Marleen Labijt, Austria: Paolo Caneppele, Oliver Hanley, Alexander Mark-Paul Meyer, Elif Rongen-Kaynakçki (EYE Horwath (Österreichisches Filmmuseum) Filmmuseum); Oliver Gee; Nico de Klerk; Bregt Belgio: Nicola Mazzanti, Clémentine De Blieck Lameris (Cinémathèque Royale de Belgique) Norvegia: Tina Anckarman, Bent Kvalvik (Nasjonal- Finlandia: Antti Alanen, Peter von Bagh biblioteket) Francia: Mahboubi Fereidoun, Eric Le Roy Regno Unito: William Barnes; Bryony Dixon, Sonia (Archives françaises -
Kasponyte, Justina (2012) Stanislavski's Directors: Michael Chekhov and the Revolution in Lithuanian Theatre of the 1930S
Kasponyte, Justina (2012) Stanislavski's directors: Michael Chekhov and the revolution in Lithuanian theatre of the 1930s. MPhil(R) thesis http://theses.gla.ac.uk/3437/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] STANISLAVSKI’S DIRECTORS: MICHAEL CHEKHOV AND THE REVOLUTION IN LITHUANIAN THEATRE OF THE 1930s Justina Kasponyte BA, PgDip Department of Slavonic Studies School of Arts University of Glasgow October 2011 © Justina Kasponyte 2011 ABSTRACT Michael Chekhov is considered to be one of the most talented and widely recognised students of Konstantin Stanislavski. After leaving Moscow, Chekhov was invited to share his innovative ideas on actor training with theatre circles in Lithuania. In 1932 he was employed at the then capital’s State Theatre for a year, during which time he taught at the Drama Studio and directed three plays. His work in Kaunas proved to be beneficial for the development of Lithuanian theatre. To this day, the critics there remark on how he influenced some of his students, and how his productions challenged the audience’s views of contemporary theatre. -
The Rhythm of Space and the Sound of Time Michael Chekhov's
The Rhythm of Space and the Sound of Time Consciousness Liter ture the & Arts 14 General Editor: Daniel Meyer-Dinkgräfe Editorial Board: Anna Bonshek, Per Brask, John Danvers, William S. Haney II, Amy Ione, Michael Mangan, Arthur Versluis, Christopher Webster, Ralph Yarrow The Rhythm of Space and the Sound of Time Michael Chekhov’s Acting Technique in the 21st Century CYNTHIA ASHPERGER Amsterdam - New York, NY 2008 Cover Design: Aart Jan Bergshoeff The paper on which this book is printed meets the requirements of “ISO 9706:1994, Information and documentation - Paper for documents - Requirements for permanence”. ISBN: 978-90-420-2387-1 ISSN: 1573-2193 ©Editions Rodopi B.V., Amsterdam - New York, NY 2008 Printed in the Netherlands TABLE OF CONTENTS Acknowledgments..........................................................................xi Preface .........................................................................................xiii Introduction.................................................................................... 1 1. Philosophical and Spiritual Influences of Michael Chekhov’s Acting Technique: A History Introduction....................................................................................13 The Influence of Johann Wolfgang von Goethe ..............................16 The Influence of Arthur Schopenhauer ...........................................22 Rudolf Steiner and the Influence of Anthroposophy........................26 Theosophy and its Origins: “No” to the Body .................................29 Anthroposophy