Stanislavsky in the world : the system and its transformations across continents
Jonathan Pitches, Stefan Aquilina, Bloomsbury Publishing (Publisher)
Print Book, English, 2017
Bloomsbury Methuen Drama, an imprint of Bloomsbury Publishing, London, 2017
XIII, 461 s. : il. ; 23 cm.
9781472587879, 9781472587886, 9781472587909, 9781472587893, 1472587871, 147258788X, 1472587901, 1472587898
1010827918
ContentsAcknowledgements Notes on transliteration Figures INTRODUCTIONS AND CONTEXT 1 AND 2‘Well-trodden Paths: US, UK, Russian and Soviet Perspectives on Stanislavsky’s Transmission’ by Stefan Aquilina ‘A System for all Nations? Stanislavsky in the World’ by Jonathan Pitches PART 1: EUROPE Introduction by Stefan Aquilina‘Three Periods of Stanislavsky in Italy’ by Franco Ruffini ‘Stanislavsky and French Theatre: Selected Affinities’ by Marie-Christine Autant-Mathieu ‘Between Nationalism and Ideology: Stanislavsky in Lithuania’ by Ina Pukelyte‘An Amateur Processing of the System: Stanislavsky in Malta’ by Stefan Aquilina‘Moments of Transition: Stanislavsky in Greece’ by Maria Gaitanidi PART 2: CHINA AND JAPANIntroduction by Jonathan Pitches ‘Towards a Chinese School of Performance and Directing: Jiao Juyin’ by Siyuan Liu ‘Stanislavsky with Chinese Characteristics: How the System was introduced into China’ by Jonathan Pitches and Ruru Li ‘A Producer’s Perspective: Stanislavsky in Contemporary Japan’ by Kaori Nakayama PART 3: LATIN AMERICAIntroduction by Stefan Aquilina ‘Stanislavsky in Brazil: Territories and Frontiers’ by Arlete Cavaliere‘Stanislavsky’s Legacy in Cuba’ by Yana Elsa Brugal ‘A Teacher’s Perspective: Stanislavsky at the Escuela de Teatro de Buenos Aires in Argentina’ by Raul Serrano PART 4: AFRICAIntroduction by Stefan Aquilina ‘Stanislavsky in Nigeria: Convergences and Counterpoints in Actor Training and Practice’ by Kene Igweonu ‘Stanislavsky in Tunisian Theatre: a Heritage in Progress’ by Moez Mrabet‘A Director’s Perspective: Stanislavsky in South Africa’ by David Peimer PART 5: AUSTRALASIA Introduction by Jonathan Pitches ‘Theatrical Bowerbirds: Received Stanislavsky and the Tyranny of Distance in Australian Actor Training’ by Ian Maxwell ‘Acting Idealism and Emotions: Hayes Gordon, The Ensemble Theatre and Acting Studios in Australia’ by Peta Tait‘Stanislavsky in Aotearoa: The System Experienced through the Maori World’ by Hilary Halba PART 6: INDIA AND BANGLADESHIntroduction by Jonathan Pitches ‘Between Stanislavsky and Bharata: Actor training at the National School of Drama in New Delhi’ by Jooyeoul Ryu‘Stanislavsky in the Modern Theatre of Bangladesh: A Mapping of Postcolonial Appropriation and Assimilation’ by Syed Jamil Ahmed Notes on Contributors Index