Theatre Futures Menu

The S Word, event schedule (18th to 20th March, 2016)

Friday 18th March

17.00 onwards – Registration in Reception

The Rose Theatre

18.30 – Introduction

18.45 – Keynote Lecture: Stanislavsky in the World: the System and its transformations across continents –

Prof Jonathon Pitches and Dr Stefan Aquilina

19.30 – short break

19.45 – Stanislavski Centre/Routledge Annual Lecture: “Быть гибким”/“Be Flexible”: Stanislavski’s and Knebel’s Legacy for Today’s Actors – Prof Sharon Carnicke

21.00 – drinks

22.00 – close

 

Saturday 19th March

09.00 – warm-up session – Niamh Dowling (RBC)

09.30 – Coffee available

 

 

  Room LH04a

(papers)

 

Room LH02

(practical presentations and workshops)

Room LH01

(papers)

10.00 Theory/History/Context

 10.00 Sergei Tcherkasski – Forward to the Early Stanislavsky! Or Re: The First Studio Project

10.30 Marie-Christine Autant-Mathieu – How Nemirovitch-Danchenko interpreted Stanislavsky’s system.

 11.00 Stefan Aquilina – Stanislavsky’s Use of Everyday Images in Artists and Admirers

 

Actor Training: Practical Presentations

 10.00 Jay Skelton – Rehearsing the Unexpected: Creating an Integrated Rehearsal Methodology for Classical Playtexts Using Active Analysis and Viewpoints

10.45 Neil Sheffield – Acting technique & Cognitive Science

 

 

Devising/Rehearsing/Performing

 10.00 Julia Listengarten & Lyubov Weidner – From Active Analysis to “Ludic Structures”: Acting Methodology of Anatoly Vasiliev

 10.30 Joelle Re Arp-Dunham – The Cognitive Stanislavski in the Rehearsal Hall Prospectus

 

 

 

 

 

11.30

Break

     
11.45

 

Actor Training

 11.45 Geoff Colman –Acting Real – the contemporary film actor’s approach to Stanislavsky

 12.15 Ysabel Clare – A system behind the System: but is it Stanislavsky?

 

 

 

 

 

Actor Training: Practical Presentations

 11.45 Kelly Handerek – Uta Hagen: Coming Under Her Spell.

12.30 Dan Barnard – Tempo-Rhythm: Uncovering the richness of Stanislavski’s original techniques (45 mins)

 

 

 

 

 

Actor Training

‘Stanislavski, Actor Training and Musical Theatre’ Panel:

Merryn Owen – Musical Theatre performers: A different kind of theatre, a different kind of actor?

 Sherrill Gow – When Stanislavski encounters the conventions of Musical Theatre

 Zachary Dunbar – Investigating a paradigm shift in Stanislavski’s System through musical theatre actor training – the emotional issue

 

 

13.15

Lunch

     
14.30 Heavy weights and global perspectives

 14.30 Martin Julien –“This Paper is Stanislavskian-based” – Actor Training and English-Canada

 15.00 Bernard Lavoie – Brechtian Stanislavski or Stanislavskian-Brecht?

 15.30 Jonathan Pitches & Ruru Li – Stanislavsky with Chinese Characteristics: How the System was introduced into China

 16.30 Break

16.45 Peta Tait – Rebellious anger: Stanislavsky & the Study of Emotion.

17.15 Giuliano Campo – After Theatre, Beyond the Self. A Pedagogy of Life from Stanislavsky to Grotowski.

 

 

Devising/Rehearsing/

Performing: Practical Presentations

14.30pm: Ian Watson – Adapting Adler: A Socially Engaged Theatre Practice Rooted in Personal Stories Shaped by the Stella Adler Technique.

  

 

 

 

 

 

16.30 Break

16.45 Matthieu Bellon and Luis Campos – Stanislavski’s concept of communion as musicalities of affect in the work of the theatre company Bred in the Bone

 

 

Actor Training

 14.30 Royce Sparks – Naturally Selected: Stanislavski in the Age of Universal Darwinism’

15.00 David Jackson – Stanislavski, Emotion and the future of the UK conservatoire

15.30 Maria Kapsali – Yoga and Stanislavski: reflections on the past and applications for the present and future

 

 

 

 

 

16.30 Break

 

 

 

 

 

 

 

17.45

Break

     
18.00 Provocations

Rogelio Nevares-Guajardo – The Legend of the Grand Inquisitor; Stanislavski that Stanislavskians Don’t Want You to Know About.

Lavinia Hollands – Stanislavski system: ubiquitous yet fragmented.

 

Workshop

 

Susan Brabant Baxter – Writing for the Actor: Stanislavski Teaches Playwriting.

 

 

 

 

Provocations

 

Julian Jones – Stanislavski: ‘The Way, The Truth and The Light’ – a challenge to the ‘quasi-religious’ attachment to ‘the name’ in actor training.

 

Tracy Crossley – Emotion Memory in Postdramatic Performance: Quarantine Theatre’s Wallflower.

19.00

Dinner

     
20.15 ROSE THEATRE

 

Nell Gwynne: A Dramatick Essaye on Acting and Prostitution

 

   
21.00 Bar is open    
22.00 CLOSE    

 

Sunday 20th March

09.00 – warm up/workshop – Dr. Sreenath Nair (University of Lincoln) Yoga

09.30 – Coffee available

  Room LH04a

(papers)

 

Room LH02

(practical)

Room LH01

(papers)

10.00 Terminology

10.00 Stephane Poliakov – What is an image for Stanislavski?

 

10.30 Laedio Martins – Recurring Misconceptions in Stanislavski’s translations

 

11.00 Kathy Dacre – Metaphor, simile, myth and magic: the heady mix of the rehearsal room

 

 

10.00 ARTEL – Reading Stanislavsky Backwards: ARTEL’s collective creation processes as a way to understand Active Analysis

 

10.45 Will Wollen: Action and the Mask: Mr S and the paper bag.

 

 

 

 

 

 

 

Devising, Rehearsing, Performing

10.00 Rebecca Reaves & Maria Creasey – Staging Three Sisters: A Stanislavskian approach to postdramatic theatre-making

10.30 Sebastian Samur Stanislavski’s Tempo-Rhythm in the 21st Century.

 11.00 Sreenath NairRays of Energy and Prana: An Indian Reading on Stanislavski

 

 

 

 

11.30

Break

     
11.45 Stanislavsky in the Classroom

11.45 Tamara Guenoun – Drama-therapy with teenagers: an observatory ground of the use of Stanislavski’s system today.

 

12.15 Petronilla Whitfield – Grasping toward meaning; an investigation into the use of Stanislavski’s method of active analysis to enable acting students with dyslexia to access, identify and experience what is contained within the words of Shakespeare’s text.

 

 

 

Workshop

11.45 John Gillett – Is Active Analysis relevant to Shakespeare? – a workshop with actors on a piece of Shakespeare text.

 

 

 

 

 

 

 

 

 

 

 

 

 

Panel

11.45 Sarah McCormack, Georgina Graham-Williams, Rosie Hunter (Redlands School) – Taking Stanislavski and Euripides to School.

 

 

 

 

 

 

 

 

 

 

 

 

 

12.45

 

Screening:

 

Root Park and Andrew Golden – Active Analysis: A Documentary Learning Archive

 

 
13.15 Buffet Lunch & networking

 

 
14.00 Witness Responses/Plenary

 

 
15.00 CLOSE

 

 

  Symposium witnesses                       

Andy Jordan (University of Lincoln)                                                                     

Niamh Dowling (Rose Bruford College of Theatre and Performance)

Adrian Giurgea (Colgate University)                                                                                                          

Please note: The convenors and event managers reserve the right to make changes to this schedule if necessary

Co-Convenors: Prof. Bella Merlin (University of California Riverside), Prof. Paul Fryer (Rose Bruford College of Theatre and Performance).

Event Managers: Christina Cornelisse, Callum Smith

               

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