[Candrama] The S Word: Rediscovering Stanislavsky, Tuesday 4th May at 18.00 BST.

[Paul Fryer]

*/The S Word, /*/in partnership with*The University of Birmingham (UK) 
*presents the fourth in our new series of webinars/

*/The S Word: Rediscovering Stanislavsky/*

*Tuesday 4^th May @ 18.00 BST*.

This webinar is a *FREE* event

*Maria Shevtsova *(Goldsmiths University of London)

*Rose Whyman*(University of Birmingham UK)

*David Chambers *(Yale University, USA)

*/Rediscovering Stanislavsky/*is a book about far more than one iconic 
figure who co-founded the Moscow Art Theatre and developed its ensemble 
practices. It brings together and details, for the first time in any 
language, the interrelations and achievements of his students and 
colleagues, many of them habitually marginalised or ignored but who were 
the protagonists of the six laboratory-studios integral to 
Stanislavsky’s innovative and multi-dimensional work. The last of them 
is the Opera-Dramatic Studio of 1935, while the unofficial first is the 
pilot laboratory that Stanislavsky had founded and financed thirty years 
earlier, entrusting it to Meyerhold.There were, in effect, seven 
laboratory-studios, all threaded through the entire Stanislavsky legacy 
that passed well beyond Russia into the twenty-first century.Maria 
Shevtsova situates this comprehensive world in relation to Stanislavsky 
who, in his younger years, had been immersed in the collaborative 
activities of visual artists, musicians, and opera singers that had 
inspired his inter-arts approach to the creative processes of the 
theatre. She also situates the MAT in the 1917 Revolution and the 
rapidly fluctuating political contexts of the 1920s and 1930s, 
identifying the differences between revolutionary theatres in terms of 
which the MAT as well as the laboratory-studios were obliged to define 
themselves.

Shevtsova examines the mistranslations and misconceptions that have 
desiccated the ‘system’, which, she shows, incorporates his ‘method of 
physical action’ or ‘active analysis’, as Stanislavsky had also termed 
it (although Maria Knebel preferred the latter name while he stayed with 
the former); and she demonstrates how the principles of the ‘system’ for 
actors but also singers and dancers are rooted in Stanislavsky’s deeply 
engrained Russian Orthodoxy without which his very notions of ‘the life 
of the human spirit’ and the’ human being -actor’ cannot be fully 
understood. Stanislavsky director, who is ground-breaking in numerous 
ways, closes the book with a panoply of contemporary directors whose 
varying points in common with him suggest that there is much yet to be 
rediscovered not only about Stanislavsky but also about his vibrant 
presence in theatre practice across time and space.

*Maria Shevtsova*(Goldsmiths University of London) is renowned 
internationally for her research and scholarship on Russian theatre, 
past and present, contemporary European theatre directors and companies, 
and the interdisciplinary theories and methodologies of the sociology of 
theatre, which she has founded and which underpins her entire work. Her 
more recent books notably include /Rediscovering Stanislavsky/ (2020), 
/Robert Wilson/(second, updated edition 2019),/The Cambridge 
Introduction to Theatre Directing/ (2013, co-authored), 
/Directors/Directing: Conversations on Theatre/ (2009),/Sociology of 
Theatre and Performance/ (2009), /Fifty Key Theatre Directors /(/2005, 
co-ed/)/,/ and /Dodin and the Maly Drama Theatre: Process to 
Performance/ (2004). She is also the author of over 150 chapters in 
collected volumes and articles in refereed journals. Her books and 
prominent chapters and journal articles have been translated into 
fifteen languages.

Apart from keynote and other contributions to university conferences, 
acting schools and conservatoires (in English, Russian, French and 
Italian), Shevtsova gives public lectures at major international theatre 
festivals in Russia and across the world, and leads post-performance 
public discussions as well as conversations with theatre actors and 
directors, many in Eastern Europe. She serves on the juries of festivals 
(also as president of the jury of the Belgrade International Festival of 
Theatre, BITEF), and undertakes other outreach and multimedia activities 
that include radio and television broadcasts, and interviews in which 
she is interviewed (the UK and abroad), lectures in Russian theatres 
(also disseminated on YouTube, as by the experimental Stanislavsky 
Electrotheatre in Moscow), podcasts (including at the Alexandrinsky 
Theatre in St Petersburg) and online talks. She is the editor of /New 
Theatre Quarterly/ and on the editorial teams of /Stanislavsky 
Studies/ and /Critical Stages/, and on the Board of the Stanislavsky 
Research Centre.

*Rose Whyman*is a Senior Lecturer in Drama and Theatre Arts, University 
of Birmingham, UK and a specialist in Russian Theatre.Her teaching 
includes practical acting courses based on the work of Stanislavsky and 
Michael Chekhov and the Alexander Technique and study courses in Russian 
theatre. Her research focuses on the science of actor training and she 
is a member of the Professional Association of Alexander Teachers 
www.paat.org.uk <http://www.paat.org.uk>

Publications include /The Stanislavsky System of Acting; Legacy and 
Influence in Modern Performance/’ CUP (2008) /Anton Chekhov, /Routledge 
(2010) /Stanislavski - the Basics, Routledge/ (2012). Recent 
publications include a Translation of /Biomechanics for Instructors/ by 
N.A. Bernstein, (Cham: Springer International Publishing, 2020) and a 
co-authored chapter ‘Serafima Birman, Sofia Giatsintova, Alla Tarasova 
and Olga Pyzhova: ‘Second Wave’ Russian and Soviet Actresses, 
Stanislavsky’s System and the Moscow Art Theatre’ for The Palgrave 
Handbook of the History of Women on Stage, edited by Jan Sewell and 
Clare Smout (Cham: Palgrave Macmillan, 2020). She is currently working 
on a monograph on Meyerhold: /Performance in Revolutionary Russia: the 
Art and Science of Biomechanics,/ for Routledge.

*David Chambers *is**a producer, director, writer, and teacher 
of theatre, opera, and film whose work has been seen in New York from 
basements to Broadway; at major regional theatres around the United 
States; on stages in Europe and Asia; as well asteaching at leading 
drama academies in the US, Russia, and Europe. In the theatre, Chambers 
served as Resident Director, then as Producer, at Washington’s famed 
Arena Stage, where he directed numerous productions, specializing in 
radical interpretations of classics and U.S. premieres of American and 
British new works. For fourteen years he was an Artistic Associate at 
South Coast Repertory Theatre in California where his annual productions 
regularly received Drama-logue and LA Critics Circle Awards.In addition 
to work at several other major US theatres, on Broadway he directed 
plays by Christopher Durang and Howard Korder, and was nominated for the 
Drama Desk Award for Best Direction.

He directed operas at Bard Summerscape, The Prague National Theatre, and 
PS 122 in New York.  His adaptation of Mozart’s Don Giovanni, /Don Juan 
in Prague,/ starring Moravian avant-garde singer/violinist Iva Bittova, 
premiered in Prague in and was the capstone event of the 2006 BAM Next 
Wave Festival. In film, he staged several scenes for /The Good 
Shepherd/, produced and directed by Robert DeNiro, starring Matt Damon 
and Angelina Jolie. In addition, he consulted regularly with Mr. DeNiro 
and screenwriter Eric Roth, as well as worked directly with Mr. Damon 
and Ms. Jolie. His writing for the stage includes book and lyrics for 
musicals, librettos for operas, and dramatic texts in translation, 
including Moliere and Ibsen/./

As much of Professor Chambers’ stage work is located at the intersection 
of history, theory, and practice, he also has extensive teaching 
experience on both the graduate and undergraduate level. For thirty 
years he was Professor of acting and directing at the Yale School of 
Drama’s MFA program. While at YSD he was co-founder and co-producer of 
The Meyerhold Project, a collaborative effort with The Saint Petersburg 
Academy of Theatre Arts (now RGISI) to research and revive the work of 
the revolutionary director Vsevold Meyerhold. Over a period of three 
years, the Project reconstructed a performance of Meyerhold’s 1926 
/Revizor (The Government Inspector)/ involving meticulous examination of 
archival materials and actor training in biomechanics. He has written 
extensively about this project, which was performed in Russia, Holland, 
and the US, and continues to be studied by scholars and practitioners 
around the world.

In 2016, he was asked to join the inaugural faculty of Harvard 
University’s new undergraduate concentration in Theatre, Dance, and 
Media. In addition he taught acting and directing at the MFA level at 
the New School for Drama in New York, and worked on opera at The New 
School for Music, formerly Mannes School of Music. He has regularly 
given master classes in mask work, Shakespeare, and Analysis through 
Action throughout the U.S., in the UK, Europe, Russia, and Asia.

In Spring of 2018, he returned to New Haven at the Theatre and 
Performance Studies program of Yale College, teaching Analysis through 
Action; Stanislavsky and his Rebellious Proteges; The Making of the 
American Avant-Garde Theatre; and the Making of the European 
Post-Dramatic Theatre; as well as courses in acting and directing.

Over his career, Professor Chambers has written or edited several 
journalistic or academic articles, most recently for the international 
e-journal, /Stanislavsky Studies/. He is (finally!) finishing a book for 
Routledge Press, entitled /Analysis through Action: From Stanislavsky to 
Contemporary Performance/. This book//examines the history, theory and 
practical deployment of a text analysis and rehearsal methodology rooted 
in the final researches of Konstantin Stanislavsky, but little known in 
western training and professional practice. In Russia, this procedure 
has evolved generationally and can be found in much of today’s 
astonishing Russian and Eastern European avant-garde theatre.

*Please click the link below to join the webinar*:

https://bham-ac-uk.zoom.us/j/88359204482?pwd=OUoxYmhFdVRjbmk2dHlJZXNGV0dpZz09 
<https://bham-ac-uk.zoom.us/j/88359204482?pwd=OUoxYmhFdVRjbmk2dHlJZXNGV0dpZz09>

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Webinar ID: 883 5920 4482

International numbers available: https://bham-ac-uk.zoom.us/u/kezdWyia5m

-- 
Prof. Paul Fryer PhD, FRSA, FHEA.
Visiting Professor, School of Performance and Creative 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.
Director, The Stanislavsky Research Centre.
Editor-in-Chief, Stanislavski Studies (Taylor & Francis).

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