Waterstones Rediscovering Stanislavsky

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Waterstones Rediscovering Stanislavsky
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Price: £22.99

Brand: Waterstones

 

Description: Konstantin Stanislavsky (1863-1938) was one of the most innovative and influential directors of modern theatre and his system and related practices continue to be studied and used by actors, directors and students. Maria Shevtsova sheds new light on the extraordinary life of Stanislavsky, uncovering and translating Russian archival sources, rehearsal transcripts, production scores and plans. This comprehensive study rediscovers little-known areas of Stanislavsky's new type of theatre and its immersion in the visual arts, dance and opera. It demonstrates the fundamental importance of his Russian Orthodoxy to the worldview that underpinned his integrated System and his goals for the six laboratory research studios that he established or mentored. Stanislavsky's massive achievements are explored in the intricate and historically intertwined political, cultural and theatre contexts of Tsarist Russia, the 1917 Revolution, the volatile 1920s, and Stalin's 1930s. Rediscovering Stanislavksy provides a completely fresh perspective on his work and legacy. Waterstones Rediscovering Stanislavsky - shop the best deal online on thebookbug.co.uk

 

Category: Books

Merchant: Waterstones

Product ID: 9781107607033

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ISBN: 9781107607033

 
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Author: ADElkins

Rating: 5

Review: It is whose Stanislavsky you got or get that truly matters. Konstantin Stanislavsky, arguably the most miss-understand and miss-taught practitioner of all time is rediscovered in the very capable hands of Maria Shevtsova. The problem with many contemporary teachings and understandings of Stanislavsky is the decision to reduce his work down to 'patters of formula' or a 'toolkit mechanical approach'. To try and present and interpret Stanislavsky as a practitioner of rules and regulations fundamentally kills his legacy and essential influence on acting as we know it today. If there was ever a practitioner who was fluid in his research (highlighted by Shevtsova in the breakdown of the studios) it was Stanislavsky. The anxiety, the battles and courage revealed beautifully in My Life in Art (Benedetti Translation recommended) is explored in the text and we get an insight into the man who worked day by day on himself which led to the title of 'The Actor Works on Himself'. Shevtsova has identified the mass problems with translation from Russian to English. Here she highlights some flaws in Jean Benedetti's sensational 'An Actor's Work' particularly in the colossal decision of the word 'mental' in association with Stanislavsky's pursuit of the human spirit and heart of the actor. She introduces us to the studios attached to the Moscow Art Theatre and thus we get further insight into the wider network of practitioners and collaborators of the time. This also ties in the social-political issues facing Russian society which is superbly handled. Maria highlights the lack of direct contact between the British Theatre and Stanislavsky, instead of receiving 'The Prague Group' or the 'Breakout Group' following Stanislavsky's tour of the United States. This is an important and welcome insight into the flaws that can be identified in the teaching and potential misunderstanding of his work. My only wish is that we now get a continued insight into the bridge between Stanislavski, Grotowski and Dodin. One which I feel Maria can offer a wonderful perspective. Bravo.

 

Author: ADElkins

Rating: 5

Review: It is whose Stanislavsky you got or get that truly matters. Konstantin Stanislavsky, arguably the most miss-understand and miss-taught practitioner of all time is rediscovered in the very capable hands of Maria Shevtsova. The problem with many contemporary teachings and understandings of Stanislavsky is the decision to reduce his work down to 'patters of formula' or a 'toolkit mechanical approach'. To try and present and interpret Stanislavsky as a practitioner of rules and regulations fundamentally kills his legacy and essential influence on acting as we know it today. If there was ever a practitioner who was fluid in his research (highlighted by Shevtsova in the breakdown of the studios) it was Stanislavsky. The anxiety, the battles and courage revealed beautifully in My Life in Art (Benedetti Translation recommended) is explored in the text and we get an insight into the man who worked day by day on himself which led to the title of 'The Actor Works on Himself'. Shevtsova has identified the mass problems with translation from Russian to English. Here she highlights some flaws in Jean Benedetti's sensational 'An Actor's Work' particularly in the colossal decision of the word 'mental' in association with Stanislavsky's pursuit of the human spirit and heart of the actor. She introduces us to the studios attached to the Moscow Art Theatre and thus we get further insight into the wider network of practitioners and collaborators of the time. This also ties in the social-political issues facing Russian society which is superbly handled. Maria highlights the lack of direct contact between the British Theatre and Stanislavsky, instead of receiving 'The Prague Group' or the 'Breakout Group' following Stanislavsky's tour of the United States. This is an important and welcome insight into the flaws that can be identified in the teaching and potential misunderstanding of his work. My only wish is that we now get a continued insight into the bridge between Stanislavski, Grotowski and Dodin. One which I feel Maria can offer a wonderful perspective. Bravo.

 

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