Stanislavski Studies is a peer-reviewed journal with an international scope. It focuses not only on Stanislavski’s work as actor, director and teacher but more broadly on his influence and legacy which can be seen in the work of many of the twentieth-century’s most influential theatre-makers: these will include Lee Strasberg, Sanford Meisner, Michael Chekhov, Stella Adler, Vakhtangov, Komissarjevsky, Meyerhold and the many others who were directly influenced by Stanislavski’s theories and practice.
Intended to be accessible to both the academic reader and the practitioner, Stanislavski Studies collects together some of the best contemporary, international scholarship, translations of original articles written in Russian, and information about major research resources. As a forum for the analysis and discussion of the history, legacy and application of Stanislavski’s theories it will publish articles that investigate, take issue with, and consider the applications of his theories to contemporary theatre. The journal will contain reviews of essential new publications in the field, interviews and profiles, occasional play texts and discussion papers.
The journal will be of interest to academics and professional practitioners and teachers interested in acting, directing, international theatre research, scenography, dramaturgy, voice and movement, Russian, non-Western and popular theatre forms.
Please click here to access the this new edition, which contains the following articles:
Ysabel Clare – A system behind the System: but is it Stanislavski?
Stefan Aquilina – As simple but as complex as everyday cooking: Stanislavski’s use of physical actions in the recreation of nature.
Mikhail Butkevich – the bridge to the contemporary avant-garde (introduced and edited by David Chambers/Translated by Maxim Krivosheyev).
Yana Meerzon – On expressionistic mysterium: Michael Chekhov’s tragic character on page and on stage.
John Gillett – Experiencing the voice in Stanislavski’s psycho-physical approach.
Anna Shulgat: Vsevolod Myerhold, actor as the texture of theatre.
Steven Dykes – Strange Fruit: Chekhov’s The Cherry Orchard in the Deep South.
Fabio Polanco and Diane Bonfiglio – Stanislavski’s objectives, given circumstances and magic “ifs”through the lens of optimal experience.
Joseph Dunne – Research Resources – the Beckett Collection, University of Reading.
Reviews by F. Jane Schopf and Jayne Richards.
Individual articles can be bought and downloaded direct from the link above. Complete issues are available both as hard-copy and download from the website.