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SS Issue 4 New Master FINAL Issue #4, May 2014 Contents / Содержание Sergei Tcherkasski (St Petersburg State Theatre Arts Academy, Russia): Inside Sulimov’s Studio: Directors Perform a Play - pg. 4/ Сергей Черкасский (Санкт-Петербургская государственная академия театрального искусства, Россия): «В мастерской М. В. Сулимова: Режиссеры играют спектакль» – с. 26 Peter Zazzali (University of Kansas, U.S.A): An Examination of the Actor’s Double-Consciousness Through Stanislavski’s Conceptualization of ‘Artistic Truth’ - pg. 47/ Питер Заззали (Канзасский университет, США): «Исследование двойственного сознания актера посредством концептуализированной Станиславским идеи ‘сценической правды’» - с. 56 Michael Craig (Copernicus Films, Moscow): Vakhtangov and the Russian Theatre: Making a new documentary film - pg. 66 / Майкл Крэг («Copernicus Films», Москва): «Вахтангов и русский театр. Создание нового документального фильма» – с. 72 Steven Bush (University of Toronto, Canada): George Luscombe and Stanislavski Training in Toronto - pg. 79/ Стивен Буш (Университет Торонто, Канада): «Джордж Ласком и преподавание по методу Станиславского в Торонто» – с. 93 David Chambers (Yale School of Drama): Études in America: A Director’s Memoir - pg. 109/ Дэвид Чемберс (Йельская школа драмы): «Этюды в Америке: Воспоминания режиссера» – с. 126 Eilon Morris (UK) : The Ins and Outs of Tempo-Rhythm - pg. 146 /Эйлон Моррис (Великобритания): «Особенности темпоритма» – с. 159 Martin Julien (University of Toronto) : “Just Be Your Self-Ethnographer”: Reflections on Actors as Anthropologists - pg. 174 / Мартин Жюльен (Университет Торонто): « ‘Просто будь самоэтнографом’: Размышления об актерах как антропологах» – с. 184 Book Reviews - pg. 195 / Рецензии на книги – с. 197 Laurence Senelick, ed: Stanislavsky – A Life in Letters (Routledge) - reviewed by Rebecca Reeves/ Лоренс Сенелик, ред.: «Станиславский: Жизнь в письмах» (Раутледж). Рецензия Ребекки Ривз Christina Gutekunst and John Gillett: Voice into Acting: Integrating Voice and the Stanislavski Approach (Bloomsbury Methuen Drama) - reviewed by Zachary Dunbar/ Кристина Гутекунст и Джон Джиллет: «Голос в актерском мастерстве: Объединяя работу над голосом и метод Станиславского» (Блумсбери Метьюэн драма). Рецензия Закари Данбара Phillip B. Zarrilli, Jerri Daboo, Rebecca Loukes: Acting: Psychophysical phenomenon and Process (Palgrave Macmillan) - reviewed by Thomasina Unsworth/ Филипп Б. Заррилли, Джерри Дабу, Ребекка Лаукс: «Актерское мастерство: Психофизический феномен и процесс» (Палгрейв Макмиллан). Рецензия Томасины Ансворт stanislavskistudies.org Issue #4, May 2014 1 Editorial Welcome to issue #4 of Stanislavski Studies. Since the publication of our last issue, the journal has undergone some major changes. We have finalised the appointment of our new and greatly expanded editorial advisory board, and confirmed the appointment of our two editors, Professor Julia Listengarten and Professor Sergei Tcherkasski. This has prepared us for the most important progression since the launch of the journal: from January 2015, publication of Stanislavski Studies will move to a major international publisher. This will offer us the opportunity to develop the publication in a wide variety of ways, to increase our reach through marketing and promotion, to offer an institutional and individual subscription service and continue to attract the best in contemporary scholarship. Previous issues of the journal will continue to be available via a new webpage, and details of this will be made available in spring 2015. In the meantime, the journal can be purchased from the existing website (www.stanislavskistudies.org). To cover the transition to the new publisher, there will be a slightly longer gap between issues with issue #5 appearing in March/April 2015. We also anticipate the launch of a print edition of the journal which would become available from the spring 2015 issue. Purchasers and subscribers will then be able to opt for the format that meets their individual needs. 2015/16 will also see the first of a number of themed editions of the journal which will offer us the opportunity to focus on specific topics, and to invite distinguished guest editors to contribute to our work. Whilst all of these developments lie in the near future, what of the present? Issue #4 continues to offer a broad and varied range of material from a distinguished group of writers: David Chambers, Professor of Directing at the Yale School of Theatre, offers a personal perspective on the use of the etude in actor training and performance; Sergei Tcherkasski’s article provides a vivid recollection of working with the distinguished director Mar Sulimov at what was then the Leningrad Institute of Theatre Art, Music and Cinematography; Moscow-based filmmaker Michael Craig writes on the development of his new documentary film about Yevgeny Vakhtangov; Steven Bush offers an account of Stanislavski training in Toronto, via the work of director and teacher, George Luscombe; also from Canada, Martin Julien explores the role of the actor as anthropologist; Peter Zazzali from the University of Kansas utilises Stanislavski’s teaching to examine the consciousness of actors; the place of rhythm and tempo in Stanislavski’s teaching and directing, is examined by performer and teacher Eilon Morris. Reviews of new publications are provided by Zachary Dunbar, Rebecca Reeves and Thomasina Unsworth. As always, we hope that you will find the contents of Stanislavski Studies to be informative, enjoyable and provocative. Paul Fryer Editor in Chief May 2015 stanislavskistudies.org Issue #4, May 2014 2 От редакции Мы рады представить вам четвертый номер журнала «Изучаем Станиславского». Со времени публикации предыдущего номера журнал претерпел ряд важных изменений. Мы окончательно утвердили новый и значительно расширенный состав нашего редакционного совета, а также наших редакторов, профессора Джулию Листенгартен и профессора Сергея Черкасского. Таким образом, мы подготовились к этапному для нас событию, значение которого сопоставимо с выходом в свет первого номера журнала: с января 2015 г. выпуск журнала «Изучаем Станиславского» будет осуществляться крупным международным издателем. Такой шаг даст нам возможность развивать это издание в различных направлениях, расширять круг читателей посредством маркетинга и рекламы, обеспечивать подпиской индивидуальных читателей и организации, а также продолжать привлекать к сотрудничеству лучшие силы современной науки. Предыдущие номера журнала будут по-прежнему доступны, благодаря новой Интернет- странице, адрес которой мы сообщим весной 2015 г. Тем временем, журнал можно приобрести, посетив существующий вебсайт (www.stanislavskistudies.org). По причине перехода к новому издателю перерыв между ближайшими номерами будет чуть больше обычного, и пятый номер увидит свет в марте-апреле 2015 г. Мы также ожидаем выхода бумажной версии журнала – она станет доступной, начиная с номера, который выйдет весной 2015 г. Те, кто покупает журнал или подписан на него, смогут выбрать формат, соответствующий их индивидуальным требованиям. В 2015 – 2016 гг. мы также представим ряд тематических номеров, что позволит сосредоточиться на конкретных темах и рассчитывать на участие в журнале видных приглашенных редакторов. Все эти перемены должны произойти в ближайшем будущем, а что сказать о сегодняшнем дне? В четвертом номере мы продолжаем предлагать вашему вниманию широкий круг материалов, предоставленных известными авторами: Дэвид Чемберс, профессор режиссуры в Школе драматического искусства Йельского университета, познакомит вас со своим личным опытом использования этюдов в обучении актеров и создании спектакля; Сергей Черкасский в своей статье увлекательно вспоминает о работе с выдающимся режиссером Маром Сулимовым в Ленинградском государственном институте театра, музыки и кинематографии (ныне – Санкт- Петербургская государственная академия театрального искусства); живущий в Москве кинематографист Майкл Крэг пишет о работе над новым документальным фильмом, посвященным Евгению Вахтангову; Стивен Буш рассказывает об обучении по методу Станиславского в Торонто на примере деятельности режиссера и педагога Джорджа Ласкома; другой канадец, Мартин Жюльен, исследует роль актера в качестве антрополога; Питер Заззали из Канзасского университета использует педагогику Станиславского для исследования актерского сознания; исполнитель и педагог Эйлон Моррис рассматривает место ритма и темпа в педагогике и режиссуре Станиславского. Рецензии на публикации предоставлены Закари Данбаром, Ребеккой Ривз и Томасиной Ансворт. Как всегда, мы надеемся, что, читая журнал «Изучаем Станиславского», вы узнаете много нового, получите удовольствие от чтения, а возможно, захотите продолжить диалог с нами и нашими авторами. Пол Фрайер Главный редактор Май 2011 stanislavskistudies.org Issue #4, May 2014 3 Inside Sulimov’s Studio: Directors Perform a Play Sergei Tcherkasski There is nothing unusual about directing students acting in their thesis play in Russian theatre schools. Both Stanislavsky and Meyerhold reflecting their own path to directing had insisted many times that a director should also be an actor and should understand the mechanisms and secrets of an actor’s work and to some extent be in command of those skills. Theatre work of such actors as Evgeny Vakhtangov, Boris Syshkevich, Aleksei Popov, and Yuri Lyubimov whose names are among the most celebrated director’s names in Russian theatre history provides good proof of this demand. And the exception of Nemirovich-Danchenko who never was a professional
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