<!DOCTYPE html>
<html>
<head>
<meta http-equiv="content-type" content="text/html; charset=UTF-8">
</head>
<body>
<div class="moz-forward-container">
<meta http-equiv="content-type" content="text/html; charset=UTF-8">
<div class="moz-forward-container">
<meta http-equiv="content-type"
content="text/html; charset=UTF-8">
<p><!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><b><span
style="font-size:14.0pt;font-family:"Times New Roman",serif;mso-ansi-language:
#1000">Stanislavsky and Opera:</span></b></p>
<p><b><span
style="font-family:"Times New Roman",serif;mso-ansi-language:#1000">Reflections
on the Critical Relevance of Stanislavsky’s Opera
Pedagogies</span></b></p>
<p class="MsoNormal"><span
style="font-family:"Times New Roman",serif;mso-ansi-language:
#1000">An online seminar presented by the <b>S Word</b> in partnership
with the <b>University of Malta.</b></span></p>
<p class="MsoNormal"><b><span
style="font-family:"Times New Roman",serif;
mso-ansi-language:#1000">Date:<span style="mso-tab-count:1"> </span>Thursday,
31 October 2024</span></b></p>
<p class="MsoNormal"><b><span
style="font-family:"Times New Roman",serif;
mso-ansi-language:#1000">Time:<span style="mso-tab-count:1"> </span>17:30–19:30
(London)</span></b></p>
<p class="MsoNormal" style="margin-left:36.0pt"><b><span
style="font-family:"Times New Roman",serif;
mso-ansi-language:#1000">18:30 – 20:30 (Malta, Rome, Brussels)</span></b></p>
<p class="MsoNormal" style="text-indent:36.0pt"><b><span
style="font-family:"Times New Roman",serif;
mso-ansi-language:#1000">10:30–12:30 (Los Angeles)</span></b></p>
<p class="MsoNormal" style="text-indent:36.0pt"><b><span
style="font-family:"Times New Roman",serif;
mso-ansi-language:#1000">13:30–15:30 (New York)</span></b></p>
<p class="MsoNormal"><b><span
style="font-family:"Times New Roman",serif;
mso-ansi-language:#1000">Zoom link: <a
href="https://universityofmalta.zoom.us/j/94921995406"
target="_blank" moz-do-not-send="true">https://universityofmalta.zoom.us/j/94921995406 </a>
</span></b><span
style="font-family:"Times New Roman",serif;
mso-ansi-language:#1000">(this is a free event and registration is not
required)</span><b><span
style="font-family:"Times New Roman",serif;
mso-ansi-language:#1000">.<br>
</span></b></p>
<p class="MsoNormal"><span
style="font-family:"Times New Roman",serif">In May
1922, Stanislavsky staged his first full opera production,
Tchaikovsky’s <i>Eugenie Onegin </i>in a relatively small
room at his home in Leontyevsky Lane. Contemporary documents
suggest that, although the staging was modest in scale
compared to what would have been produced in larger opera
houses in Russia and elsewhere, the event was nonetheless
successful. Pavel Rumyantsev, a young baritone studying with
Stanislavsky at the time, reports that the opera contained
in miniature all the essential elements of a complex
theatrical production. Until his death in 1938, Stanislavsky
continued to stage at least one opera every year. Yet,
despite this constant and uninterrupted engagement with the
art form at both aesthetic and pedagogical levels,
English-speaking academia has seldom engaged critically with
this aspect of Stanislavsky’s activity which ran parallel to
his work in spoken theatre. As Sharon Carnicke and David
Rosen put it, Stanislavsky’s operatic pedagogies are left as
‘a mere footnote in the many theatre and music histories […]
favouring instead his directing and acting of spoken plays
[...] largely ignoring [...] how Stanislavsky's interest in
music influenced the development of his theories’ (in R. A.
White,<i> The Routledge Companion to Stanislavsky</i>, 2014:
120–21).</span></p>
<p class="MsoNormal"><span
style="font-family:"Times New Roman",serif">The
online seminar seeks to discuss the relevance of engaging
with the work that Stanislavsky conducted on opera with the
aim to initiate a more in-depth critical debate around the
pedagogies that emerged from this work.</span></p>
<p class="MsoNormal"><span
style="font-family:"Times New Roman",serif">A
panel of speakers, each intervening to briefly expand on the
relevance that further critical engagement with
Stanislavsky’s operatic pedagogies could have on their
respective field of research and practice, includes: opera
and Stanislavsky scholar and editor of the <i>Stanislavsky
and</i> … series <b>Professor Paul Fryer</b>,
opera-singer <b>Soprano Tatiana Lisnic</b>, music and opera
critic, and curator of the international programme of the
Golden Mask Festival <b>Anton Fleurov</b>,<b> </b>opera
and music-theatre scholar <b>Professor Nicholas Till</b>,
actress, director, teacher and Stanislavsky scholar <b>Professor
Bella Merlin.</b></span></p>
<p class="MsoNormal"><span
style="font-family:"Times New Roman",serif">The
online seminar will be introduced and convened by <b>Dr
Mario Frendo</b> author of ‘Towards a Pedagogical Vision
for Opera: The Musico–Dramatic Text and Stanislavsky’s 1922
Staging of <i>Eugenie Onegin</i>’ in Aquilina, S. (ed.) <i>Stanislavsky
and Pedagogy</i>, Routledge, 2024).</span></p>
<p class="MsoNormal"><span
style="font-family:"Times New Roman",serif">This
free event is part of the <b><i>Stanislavsky And...</i> </b>project
(published by Routledge, Taylor & Francis).<br>
</span></p>
<pre class="moz-signature" cols="72">--
Prof. Paul Fryer PhD, FRSA, FHEA.
Visiting Professor, School of Performance and Cultural Industries, University of Leeds.
Visiting Professor, School of Arts and Creative Industries, London South Bank University.
Hon. Visiting Professor, School of Arts and Digital Industries, University of East London.
Co-Director, The Stanislavsky Research Centre.
Founding Editor, Stanislavski Studies and Series Editor, Stanislavsky And...(Routledge/Taylor & Francis).</pre>
</div>
</div>
</body>
</html>