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

By Paul Fryer on February 12, 2016 in Current Projects, News, Stanislavski Centre, Upcoming Events 0

Friday 18^th 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 19^th 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 20^th 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 Nair - Rays 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