<div dir="ltr"><p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif">Dear colleagues</p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"> </p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif">You might
be interested in my new book publication, <i>Modern Theatre in Russia:
Tradition Building and Transmission Processes</i>, which just came out on
Bloomsbury. The book tackles both canonical names like Meyerhold and
Stanislavsky, but also other Russian modernists who were not giving much
scholarly attention before. There are also practical exercises to use in the
studio and rehearsal room. To order a copy, perhaps for your library, please
click <a href="https://www.bloomsbury.com/uk/modern-theatre-in-russia-9781350066106/" style="color:rgb(5,99,193)">here</a>.
</p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"> </p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif">More
information about the book follows. </p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"> </p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif">Best</p>
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<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif">Stefan Aquilina</p><p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif">Director, School of Performing Arts</p><p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif">University of Malta</p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"> </p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif">++++++</p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"> </p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"><b><i><span style="color:black">Modern Theatre in Russia: Tradition Building and Transmission
Processes</span></i></b></p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"><span style="color:black"> </span></p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"><span style="color:black">What did modern theatre in Russia look like and how did it
foreground tradition building and transmission processes?</span><br>
<br>
The book challenges conventional historiographical approaches
by weaving contemporary theories on cultural transmission into its historical
narrative. It argues that processes of transmission – training spaces, acting
manuals, photographic evidence, newspaper reports, international networking,
informal encounters, cultural memories – contribute to the formation and consolidation
of theatre traditions.<br>
<br>
Through English translations of rare Russian sources, the
book expounds on:<br>
<br>
</p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"><span style="color:black">* side-lined material on Stanislavsky, including his relationship
with German actor Ludwig Barnay, use of improvisation at the First Studio, and
rehearsal practices for </span><i style="font-variant-numeric:inherit;font-variant-east-asian:inherit;font-stretch:inherit;line-height:inherit"><span style="border:1pt none windowtext;padding:0cm">Artists and Admirers</span></i> (1933);<br>
<br>
* Valentin Smyshlaev's acting manual <i style="font-variant-numeric:inherit;font-variant-east-asian:inherit;font-stretch:inherit;line-height:inherit"><span style="border:1pt none windowtext;padding:0cm">The Technique to Process Stage Performance</span></i> and the
creation of hybrid practices;<br>
<br>
* proletarian theatre as an amateur-professional combination
and force in the transformation of everyday life, as seen in the Proletkult's
volume <i style="font-variant-numeric:inherit;font-variant-east-asian:inherit;font-stretch:inherit;line-height:inherit"><span style="border:1pt none windowtext;padding:0cm">Art at the Workers' Clubs</span></i>;<br>
<br>
* Meyerhold's Borodin Studio as an early example of Practice
as Research, his European tour of 1930, and international persona as depicted
in newspapers published in the West; and<br>
<br>
* Asja Lacis's work with children, which contributes to
current efforts to address the gender imbalance that is often characteristic of
modernism.<br>
<br>
This historical-theoretical investigation is combined with
practical exercises that provide a more experiential understanding of the
modern performance realities involved. In this way, the book speaks not only to
theatre scholars and historians, but also to students and practitioners engaged
in practical work.</p>
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<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"><b><span style="color:black">Book Contents</span></b></p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"><span style="color:black"> </span></p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt;line-height:normal;font-size:11pt;font-family:Calibri,sans-serif"><span style="color:black">Chapter 1 Introduction</span><br>
<br>
Chapter 2 Stanislavsky: Renewing Tradition through
Transmission<br>
<br>
Chapter 3 Misinterpretation of Theatre Practice:
Stanislavsky-Smyshlaev<br>
<br>
Chapter 4 Amateur and Proletarian Theatre in
Post-Revolutionary Russia<br>
<br>
Chapter 5 Meyerhold: Bias in Transmission Processes<br>
<br>
Chapter 6 Lesser-known Names: Rediscovering Female Voices</p><div><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div><div style="font-size:12.8px"><font face="arial, helvetica, sans-serif" size="2"><div><font face="arial, helvetica, sans-serif" size="2"><a href="https://www.um.edu.mt/profile/stefanaquilina" target="_blank">Dr Stefan Aquilina</a></font></div><div><font face="arial, helvetica, sans-serif" size="2">Director, <a href="https://www.um.edu.mt/performingarts" target="_blank">School of Performing Arts</a></font></div><div><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div><font size="2">Senior Lecturer, <a href="https://www.um.edu.mt/performingarts/theatre" target="_blank">Department of Theatre Studies</a></font></div><div><div style="font-size:12.8px"><font face="arial, helvetica, sans-serif" size="2">University of Malta</font></div></div><font face="arial, helvetica, sans-serif" size="2"></font></div></div></div></div></div></div></div></div></div></div></div></div></div></div></font></div></div><font face="arial, helvetica, sans-serif" size="2"></font></div><div dir="ltr"><br></div><div dir="ltr"><div>Co-Director, <a href="https://stanislavsky-research.leeds.ac.uk/" target="_blank">Stanislavsky Research Centre</a></div><div>Director, <a href="http://www.ctatt.org/" target="_blank">CTATT Research Project</a></div><div><br></div><div><font face="arial, helvetica, sans-serif" size="2"><font face="arial, helvetica, sans-serif" size="2">Book Publications: </font></font></div><div><i><span style="font-family:Arial,sans-serif;background-image:initial;background-position:initial;background-repeat:initial"><a href="https://www.bloomsbury.com/uk/amateur-and-proletarian-theatre-in-post-revolutionary-russia-9781350170971/" target="_blank">Amateur and Proletarian Theatre in Post-Revolutionary Russia: Primary Sources</a></span></i><font face="arial, helvetica, sans-serif" size="2"><font face="arial, helvetica, sans-serif" size="2"> (forthcoming; Bloomsbury)</font></font></div><div><font face="arial, helvetica, sans-serif"><i><a href="https://www.bloomsbury.com/uk/modern-theatre-in-russia-9781350066106/" target="_blank">Modern Theatre in Russia: Tradition Building and Transmission Processes</a> </i>(2020; Bloomsbury)</font></div><div><font face="arial, helvetica, sans-serif"><i><a href="https://www.um.edu.mt/mup/onlinebookstore" target="_blank">Interdisciplinarity in the Performing Arts: Contemporary Perspectives </a></i>(2018; Malta University Press)</font></div></div></div><div dir="ltr"><div><font face="arial, helvetica, sans-serif"><i><a href="https://www.bloomsbury.com/uk/stanislavsky-in-the-world-9781472587886/" target="_blank">Stanislavsky in the World: The System and its Transformations across Continents</a> </i>(2017; Bloomsbury)</font></div><div><font face="arial, helvetica, sans-serif"><br></font></div><div dir="ltr"><font size="2">And: </font></div><div><font size="2"><a href="https://www.tandfonline.com/eprint/VGNPYBKQIFGT7WFPYIU5/full?target=10.1080%2F20567790.2020.1718862&fbclid=IwAR0Xc0Tty3MmdpAe8w3bDSMWryXU_D5Th849EGagicnN5dTUgV_3-8W8-5Q" target="_blank">'Teaching Stanislavsky: Periodization and the Formation of Theatre Canons'</a>, in <i>Stanislavski Studies</i></font></div><div dir="ltr"><div dir="ltr"><div dir="ltr"><font face="arial, helvetica, sans-serif" size="2"> <a href="https://www.tandfonline.com/eprint/uhHcNSkG4YyrNfXcYeRC/full?target=10.1080%2F19443927.2018.1538018&fbclid=IwAR0pshmq_mwx1EMz8QYLA2dBLn2Sgn26HQiAaTce1e8ypHZwXZtbPfnaayg" style="color:rgb(17,85,204)" target="_blank">'Cultural Transmission of Actor Training Techniques'</a>, in <em>Theatre, Dance and Performance Training (</em>Routledge), 10:1, pp. 4-20.</font></div></div><div dir="ltr"></div></div><div dir="ltr"><br></div><div dir="ltr"><br></div><div><font size="2"><font color="#000000" face="Times New Roman" size="3">
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