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Graham Dixon

Michael Chekhov and his influence on British theatre-practice from 1936 to the present day

Michael Chekhov and his influence on British theatre-practice from 1936 to the present day Graham Dixon (Michael Chekhov Studio, London) Tuesday 20th January Room C118, 18.30 to 20.00 Graham Dixon will talk about Michael Chekhov’s studio in Dartington Hall, Devon, in the mid-1930s and whether Chekhov’s approach to the art of acting and directing has influenced, in […]

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Michael Chekhov and his influence on British theatre-practice from 1936 to the present day.  Graham Dixon (Michael Chekhov Studio, London) Tuesday 20th January, 18.30 to 20.00 Room C118, Rose Bruford College of Theatre and Performance, Sidcup DA15 9DF   Graham Dixon will talk about Michael Chekhov’s studio in Dartington Hall, Devon, in the mid-1930s and whether Chekhov’s approach […]

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Editorial/От редакции

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 […]

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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

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 […]

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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

In a rather well known anecdote regarding Method acting, Dustin Hoffman and Laurence Olivier were filming Marathon Man during the 1970s, when the former was away from the set for several days staying out late and not sleeping for the sake of getting into his role, to which Olivier famously quipped: “My dear boy, why […]

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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

The idea for the film Vakhtangov and the Russian Theatre began with the premiere of the film Stanislavsky and the Russian Theatre. At the end of the premiere it was suggested that a film about Vakhtangov would be a good follow up to this film in addition to my previous film Meyerhold, Theatre and the […]

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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

George Luscombe (1926–1999) was Artistic Director of Toronto Workshop Productions (TWP) from its founding in 1959 until its demise in 1988. Conversations with George Luscombe describes George’s training methods, drawn from his career-long study of Stanislavski and his years working with Joan Littlewood at Theatre Workshop in London. There he was introduced by Jean Newlove […]

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