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Stanislavsky in America: Russian em...

Gordon, Marc Aaron.

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Stanislavsky in America: Russian emigre teachers of acting (Konstantin Stansilavsky).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Stanislavsky in America: Russian emigre teachers of acting (Konstantin Stansilavsky)./
作者:	Gordon, Marc Aaron.
面頁冊數:	281 p.
附註:	Adviser: Laurence Senelick.
Contained By:	Dissertation Abstracts International62-12A.
標題:	Education, History of. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3035066
ISBN:	0493486690

Stanislavsky in America: Russian emigre teachers of acting (Konstantin Stansilavsky).
Gordon, Marc Aaron.

Stanislavsky in America: Russian emigre teachers of acting (Konstantin Stansilavsky). - 281 p.

Adviser: Laurence Senelick.

Thesis (Ph.D.)--Tufts University, 2002.

This dissertation places Stanislavsky's teaching alongside that of his immediate followers documenting important consistencies and contrasts.

ISBN: 0493486690Subjects--Topical Terms:

599244
Education, History of.

Stanislavsky in America: Russian emigre teachers of acting (Konstantin Stansilavsky).
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245 1 0 $a Stanislavsky in America: Russian emigre teachers of acting (Konstantin Stansilavsky).
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520 $a This dissertation places Stanislavsky's teaching alongside that of his immediate followers documenting important consistencies and contrasts.
520 $a This dissertation examines the impact of Stanislavsky's System (the combined techniques of his actor training program) on acting training in America through the work of his earliest disciples, former members of the Moscow Art Theatre (MAT). After the MAT toured America in 1923–4, the theatrical landscape would be dramatically altered. Americans witnessed the work of dedicated individual actors performing together in a powerful ensemble. What endured were the memories of remarkable performances and curiosity on the nature of their training. Over the next twelve years, other former MAT and First Studio (the training school dedicated to the development of the System in Russia) members made their way to New York, became teachers, and participated in the dissemination of Stanislavsky's acting theories. The list of Russian émigré teachers included Richard Boleslavsky, Maria Ouspenskaya, Maria Germanova, Michael Chekhov, Andrius Jilinsky, Vera Soloviova, Leo and Barbara Bulgakov, and Tamara Daykarhanova. Individually, their work, outside of Chekhov and Boleslavsky is largely forgotten. Collectively, Stanislavsky's students taught acting classes in and around New York and Los Angeles for up to forty years. Their absence from the history books is in need of correction.
520 $a Stanislavsky's techniques became the standard by which actor training would be measured in this country. Indeed, American actors studied with one or a combination of the émigré teachers in order to learn the Stanislavsky technique. None of the émigrés would dare distance themselves from Stanislavsky, each recognizing his/her debt to their teacher; his name and legacy guaranteed legitimacy and steady enrollment in their classes. Nevertheless, the work of these émigrés often included variations of Stanislavsky's technique or combinations with other approaches. For example, it is often suggested, “where Stanislavsky's work ended, Chekhov's work began.” Jilinsky's work is a unique blend of Stanislavsky and Chekhov, and Daykarhanova, later in life, appears to have been espousing the concepts associated with Strasberg's Method. All of Stanislavsky's followers taught the precepts of their teacher; each followed a path of innovation and invention.
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